Theatre immerses its readers in the world of theatre, giving them in-depth descriptions of many job functions and various aspects of a play's production from beginning to end. Through the coverage of design, acting, and directing, students are given a behind-the-scenes look at professional theatre artists performing their craft. The Photo Essay features that appear in multipl...
Theatre immerses its readers in the world of theatre, giving them in-depth descriptions of many job functions and various aspects of a play's production from beginning to end. Through the coverage of design, acting, and directing, students are given a behind-the-scenes look at professional theatre artists performing their craft. The Photo Essay features that appear in multiple chapters include interviews with well-known figures both onstage and offstage. Conducted personally by the authors, they provide readers with firsthand accounts of what it's like to work in the field.
Every culture has developed theatre of some kind, and this edition makes a greater effort to include plays from non-Western countries in its examples. There is also greater attention to individual diversity withing the U.S. theatre community. The authors incorporate more examples of women and ethnic minorities in both onstage and backstage roles, including a new profile on Young Jean Lee, the first Asian American woman to have her work staged on Broadway.
作者简介
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ROBERT COHEN was the founding chair Drama at the University of California at Irvine, where he continues to serve as the department's Claire Trevor Professor of Drama. He has also been a resident acting teacher at the Actors Center in New York, the Shanghai Theatre Academy, the Korean National Arts University, and the national theatre academies of Hungary, Finland, and Estonia. ...
ROBERT COHEN was the founding chair Drama at the University of California at Irvine, where he continues to serve as the department's Claire Trevor Professor of Drama. He has also been a resident acting teacher at the Actors Center in New York, the Shanghai Theatre Academy, the Korean National Arts University, and the national theatre academies of Hungary, Finland, and Estonia. He is an accomplished stage director, scholar, playwright, drama critic, and teacher. A director by training (Doctor of Fine Arts, Yale Drama School), Cohen has staged thirteen professional productions at the Utah and Colorado Shakespeare Festivals, plus well over a hundred productions at Stages Theatre Center (Hollywood), Virginia Museum Theatre (Richmond), Theatre 40 (Beverly Hills), Image Theatre (Boston), Summer Repertory Theatre (Santa Rosa), the Medieval Drama Project (Irvine), the Manhattan Theatre Source, various universities, and several operas, videos and films. In addition to Theatre and Theatre: Brief Edition, he is also the author of many theatre books, including Acting One, Advanced Acting, Acting in Shakespeare, Acting Professionally, Acting Power, More Power to You, Giraudoux: Three Faces of Destiny, Creative Play Direction, and two dramatic anthologies. His essays have appeared in Theatre Journal, Theatre Topics, Theatre Forum, Theatre Survey, Modern Drama, Theater der Zeit, Essays in Theatre, On Stage Studies, The Drama Review, Contemporary Literature, Contemporary Literary Criticism, Slavic and East European Performance, Experiment and Innovation, and Dramatic Theory and Criticism. Cohen's play, The Prince, published by Dramatic Publishing Company, has been professionally produced in Long Beach, Pittsburgh, Budapest, and in staged readings in New York and Los Angeles; his dramatic translations (The Bourgeois Gentleman, The Misanthrope, Clizia, Tibi's Law) and opera translations (The Magic Flute, Carmen) have been both produced and published widely. For the past twenty years, Cohen has been the Southern California drama critic for Plays International, reviewing over two hundred plays. In 1999, he received the national Career Achievement award from ATHE - the Association for Theatre in Higher Education.
Donovan Sherman is an associate professor of English at Seton Hall University. His research focuses on the drama and performance of Shakespeare and his contemporaries, as well as theatre history, philosophy, and critical theory. Scholarly works include the book Second Death: Theatricalities of the Soul in Shakespeare’s Drama, published in 2016 by Edinburgh University Press, along with essays on Shakespeare, performance studies, film, and early modern religion and philosophy in Shakespeare Quarterly, The Journal of Medieval and Early Modern Studies, Literature/ Film Quarterly, English Literary Renaissance, Upstart, and Theatre Journal. Currently, he is working on a book about portrayals of ancient philosophy in early modern drama. As a theatre artist, Sherman has performed with the Actors Theatre of Louisville, the SITI Company, Steppenwolf Theatre Company, and several other regional theatres in the United States. Donovan received his doctoral degree from the Joint Program of Theatre and Drama at the University of California, Irvine, and the University of California, San Diego. --This text refers to the hardcover edition.
这种能量之首就是演员和观众之间的默契。二者呼吸同样的空气，在同一个时间和空间里牵挂着舞台上同样的戏剧事件。有时候，他们之间的相互迷恋几乎是能触摸到的：观众的每一个反应——笑声、叹息声、掌声、喘气声或者鸦雀无声——都直接影响到每个演员的表演。现场戏剧演出——即使是自然主义戏剧——始终是舞台和观众席之间的双向交流。
现场戏剧在观众之间缔造的关系是它的第二个能量。观众独自或两三个人结伴来到剧场，很快就和陌生人一起融入了共同的经历：笑同样的笑话、同情同样的人物、了解同样的隐秘。电视剧不可能造成这种广义的共同反响，一则因为它的观众通常是个体的或小组的，再则，频繁的广告使观众不能全神贯注；这种反响也不能发生在电影院，因为观众基本上是单个地与银幕建立关系，（除非是集体包场）极少会做出集体的强烈反应，更不会鼓掌。与之相反，现场戏剧演出引发的是社会化的观众活动：人群差不多同时到达现场，他们在幕间休息时聊天攀谈，然后他们一起离开，兴致勃勃地谈论着刚看过的戏。而且，他们在看戏的过程中也相互沟通：听到别人也在笑也在鼓掌，笑声和掌声就变得更热烈。最后，只有现场演出才会出现的鼓掌喝彩，不仅是献给演员的，也是冲着观众自己来的，因为他们一起共同理解和欣赏了一场精彩的戏剧演出。那些有政治主题的戏剧，甚至能引起集体的政治行动。有一个突出的例子，大萧条时期上演的《等待老左》（Waiting for Lefty）将观众假设为工会成员；演出结束时，观众高呼“罢工！罢工！”显然，只有现场演出才会引发这样的反应。 (查看原文)
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还没人写过短评呢
还没人写过短评呢