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| Author | : Eric Bentley |
| Publisher | : Penguin (Non-Classics) |
| Total Pages | : 520 |
| Release | : 1992 |
| Genre | : Performing Arts |
| ISBN | : |
Reprinted with a new postscript
| Author | : Eric Bentley |
| Publisher | : |
| Total Pages | : 0 |
| Release | : 1997 |
| Genre | : Drama |
| ISBN | : |
| Author | : Eric Bentley |
| Publisher | : |
| Total Pages | : 493 |
| Release | : 1970 |
| Genre | : |
| ISBN | : |
| Author | : Eric Bentley |
| Publisher | : Hal Leonard Corporation |
| Total Pages | : 500 |
| Release | : 1997 |
| Genre | : Performing Arts |
| ISBN | : 9781557832795 |
(Applause Books). Including Antoin Artaud, Bertolt Brecht, E. Gordon Craig, Luigi Pirandello, Konstantin Stanislavsky, W. B. Yeats, and Emile Zolaing.
| Author | : Eric Russell BENTLEY |
| Publisher | : |
| Total Pages | : 493 |
| Release | : 1968 |
| Genre | : |
| ISBN | : |
| Author | : Adrian Curtin |
| Publisher | : Theatre: Theory - Practice - Performance |
| Total Pages | : 272 |
| Release | : 2019-02-08 |
| Genre | : Criticism, interpretation, etc |
| ISBN | : 9781526124708 |
Death in modern theatre offers a unique account of modern Western theatre, focusing on the ways in which dramatists and theatre-makers have explored historically informed ideas about death and dying in their work. It investigates the opportunities theatre affords to reflect on the end of life in a compelling and socially meaningful fashion. In a series of interrelated, mostly chronological, micronarratives beginning in the late nineteenth century and ending in the early twenty-first century, this book considers how and why death and dying are represented at certain historical moments using dramaturgy and aesthetics that challenge audiences' conceptions, sensibilities, and sense-making faculties. It includes a mix of well-known and lesser-known plays from an international range of dramatists and theatre-makers, and offers original interpretations through close reading and performance analysis.
| Author | : Eric Bentley |
| Publisher | : Penguin UK |
| Total Pages | : 515 |
| Release | : 2008-01-31 |
| Genre | : Literary Criticism |
| ISBN | : 0141917849 |
In The Theory of the Modern Stage, leading drama critic, Eric Bentley, brings together landmark writings by dramatists, directors and thinkers who have had a profound effect on the theatre since the mid nineteenth century, from Adolphe Appia to Émile Zola. Here, Antonin Artaud sets out a manifesto for a Theatre of Cruelty, Bertolt Brecht discusses the tension between entertainment and instruction in experimental drama and Bernard Shaw defends himself as a realist, while W. B. Yeats describes the creation of a People’s Theatre. The ideas of theatre’s great makers are revealed by their best expositors, as Eric Bentley writes about Stanislavsky belief in the importance of emotional memory when creating a dramatic role and Arthur Symons considers Richard Wagner and the relationship between genius, art and nature.
| Author | : J. L. Styan |
| Publisher | : Cambridge University Press |
| Total Pages | : 238 |
| Release | : 1983-06-09 |
| Genre | : Drama |
| ISBN | : 9780521296298 |
Jarry - Garcia Lorca - Satre - Camus - Beckett - Ritual theatre and Jean Genet - Fringe theatre in Britain__
| Author | : Eric Bentley |
| Publisher | : |
| Total Pages | : 0 |
| Release | : 1968 |
| Genre | : |
| ISBN | : |
| Author | : Austin E. Quigley |
| Publisher | : Routledge |
| Total Pages | : 358 |
| Release | : 2015-08-11 |
| Genre | : Performing Arts |
| ISBN | : 1317619641 |
Modern plays are strikingly diverse and, as a result, any attempt to locate an underlying unity between them encounters difficulties: to focus on what they have in common is often to overlook what is of primary importance in particular plays; to focus on their differences is to note the novelty of the plays without increasing their accessibility. In this study, first published in 1985, Austin E. Quigley takes as his paradigm case the relationship between the world of the stage and the world of the audience, and explores various modes of communication between domains. He asks how changes in the structure of the drama relate to changes in the structure of the theatre, and changes in the role of the audience. Detailed interpretations of plays by Pinero, Ibsen, Strindberg, Brecht, Ionesco, Beckett and Pinter question principles about the modern theatre and establish links between drama structure and theatre structure, theme, and performance space.
