Re-Direction: A Theoretical and Practical Guide

Half Title......Page 2
Title Page......Page 4
Copyright Page......Page 5
Table of Contents......Page 6
List of illustrations......Page 9
Acknowledgments......Page 10
General introduction......Page 11
Notes......Page 18
Works Cited......Page 19
Part I: Directors of classical revolt......Page 20
1. Introduction to Part I......Page 21
Works Cited......Page 23
2. The reign of the theatrical director: Antoine and Lugné-Pöe......Page 24
Works Cited......Page 31
3. Stanislavsky: uncensored and unabridged......Page 32
Notes......Page 39
Works Cited......Page 40
4. Three Sisters at the MAT......Page 42
Note......Page 48
5. My Russian notebook, 1934......Page 50
11 May......Page 52
31 May......Page 55
Note......Page 56
6. An interview with Okhlopkov......Page 57
Meyerhold and Russian Futurism......Page 60
Meyerhold and Russian Cubo-Futurism......Page 62
Meyerhold and Russian Formalism......Page 63
Works Cited......Page 71
8. Reality is not enough: an interview with Alan Schneider......Page 72
Note......Page 81
9. Brecht as director......Page 82
Note......Page 86
10. The revolutionary moment......Page 87
27 January 1968: Arth-Am-See, Switzerland......Page 97
11 January 1968: Rome......Page 98
1 February 1968: Filmstudio, Rome......Page 100
2 February 1968: Filmstudio, Rome......Page 101
4 february 1968: Casa Di Cultura, Rome......Page 102
5 february 1968: Casa Di Cultura, Rome......Page 103
Listening to the 1980s: Inside/outside......Page 105
13. Invisible Theatre......Page 107
Part II: Auteur theatre......Page 115
14. Introduction to Part II......Page 116
Works Cited......Page 117
15. Artaud’s Les Cenci......Page 118
Letters......Page 119
Previews......Page 121
Reviews......Page 124
Notes......Page 127
16. Tadeusz Kantor’s journey......Page 128
Works Cited......Page 133
Raymond Andrews......Page 134
Movement Workshops......Page 136
Christopher Knowles......Page 138
Wilson and Therapy......Page 140
Notes Added by Editors......Page 141
Works Cited......Page 142
18. Vessel: the scenography of Meredith Monk – an interview......Page 143
19. Foreman’s PAIN (T) and Vertical Mobility......Page 150
The Placement Process......Page 151
20. Pearls for Pigs: program notes......Page 156
21. AIDS and avant-garde classicism: Reza Abdoh’s Quotations from a Ruined City......Page 159
Quotations from a Ruined City......Page 160
Texts......Page 161
Horrors of War......Page 162
Punctuating the Spectacle......Page 164
Repetition and Intent......Page 165
Hafiz and Symbolism, Ta’ziyeh and Death......Page 166
Aids and Postmodernism......Page 167
‘Structural Stability’ of the Avant-Garde......Page 168
Quotations and ‘The Spectacle of AIDS’......Page 170
Works Cited......Page 172
22. Woman, man, dog, tree: two decades of intimate and monumental bodies in Pina Bausch’s Tanztheater......Page 174
Pathways to a New Theatre Aesthetic......Page 175
‘She Can Move Like She’s Made of Rubber’......Page 177
The Fish Out of Water Stories, or a Theatre of the History of the Totality of the Body?......Page 181
Works Cited......Page 183
BWL in L.A......Page 185
Oguri and Renzoku......Page 187
Before or after the Atomic Flash?......Page 188
Animistic Transmutation: Liquid Flames......Page 190
To Seem or Not to Seem......Page 191
Works Cited......Page 192
Part III: Theatres of community and transculturation......Page 193
24. Introduction to Part III......Page 194
Works Cited......Page 196
25. Collective creation......Page 197
Notes [Added by Editors]......Page 208
26. An interview with Grotowski......Page 210
The Reality of Zero......Page 218
Many Perspectives, Many Points of View......Page 222
Notes [Added by Editors]......Page 226
Are There Theories about Acting?......Page 227
Such Mysterious Fundamental Laws!......Page 228
Emotion Comes from Recognition......Page 229
We Must Have Theatre the First Day......Page 231
Theatre is Eastern......Page 232
We Do Not Invent Theories of Acting Anymore......Page 233
29. The Other history of intercultural performance......Page 234
Works Cited......Page 246
30. Nomadmedia: on Critical Art Ensemble......Page 247
Works Cited......Page 253
Part IV: Montage, reiteration, revision......Page 255
31. Introduction to Part IV......Page 256
Works Cited......Page 257
32. Eisenstein’s Wiseman......Page 258
2. Montage of Attractions......Page 263
Notes [Added by Translator]......Page 265
34. Charles Ludlam’s Ridiculous Theatrical Company......Page 267
Instructions for use......Page 271
36. Family of the f.p.: notes on the Theatre of the Ridiculous......Page 272
37. Is there a text on this stage? Theatre, authorship, interpretation......Page 276
Just the High Points......Page 277
1001 Endgames?......Page 278
Text, Script, Work......Page 280
The Author is Dead, Vive L’auteur!......Page 282
The Only Game in Town......Page 284
38. Island hopping: rehearsing the Wooster Group’s Brace Up!......Page 287
Stage, Props, and Costumes......Page 288
Performance Outline......Page 289
Scoring......Page 290
Directing Actors......Page 294
Dancing......Page 295
Japanese Material......Page 296
Works Cited......Page 298
39. Hamlet at world’s end: Heiner Müller’s production in East Berlin......Page 299
Note......Page 302
40. Suzan-Lori Parks and Liz Diamond: doo-a-diddly-dit-dit – an interview......Page 303
Works Cited......Page 310
41. Three Sisters at millennium’s end: Richard Schechner’s production at La Mama......Page 311
Index......Page 316