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Authoring Performance: The Director in Contemporary Theatre (What is Theatre?), by A. Sidiropoulou
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A historical, theoretical, and comparative study of the emergence of the director-as-author phenomenon, posing questions of authorship and redefining the relationship between 'playwright' and the director-playwright.
- Sales Rank: #4217152 in Books
- Brand: Brand: Palgrave Macmillan
- Published on: 2011-11-15
- Released on: 2011-12-06
- Original language: English
- Number of items: 1
- Dimensions: 8.50" h x .56" w x 5.50" l, .84 pounds
- Binding: Hardcover
- 217 pages
- Used Book in Good Condition
Review
"A fresh perspective on the impact of Jarry, Craig, Appia, Wagner, and Stein, among others, on present praxis. . . Part of Palgrave Macmillan's 'What Is Theatre?' series, this book is a must read for those interested in both a theoretical and 'practice-related context in which to examine and evaluate' the contemporary theater director-auteur. Summing Up: Highly recommended. Upper-division undergraduates through faculty and professionals." - CHOICE
"The writing is fast paced and engaging. In its brevity, but also by the frequent recasting of the key arguments in fresh language, Sidiropoulou instructs even as she delights. This work should go a long way toward re-opening the American student mind." - Stavros Deligiorgis, Professor Emeritus of Comparative Literature, University of Iowa, USA
About the Author
Avra Sidiropoulou is Lecturer at the graduate Theatre Studies program of the Open University of Cyprus.
Most helpful customer reviews
1 of 1 people found the following review helpful.
Excellent.
By Esref Eskinat
Avra Sidiropoulou's study Authoring Performance: the Director in Contemporary Theatre comes to fill a void in the theoretical exploration of directing practice worldwide and would make for a valuable handbook for students of directing, acting, theatre studies and performance theory on both undergraduate and graduate level. Not only does the book plunge into the history of directing from the beginnings of the twentieth century on, but it also draws very helpful parallels between the work of the early experimentalists and avant-garde directors today, identifying the methods and aesthetics these employ during the "writing" of the performance. I found Chapters 4 and 5 extremely well-written and original in scope, especially the part where Sidiropoulou argues for the need of meaningfulness as a complementary component to formalist structures, balancing masterfully the pros of a powerful visual idiom to the cons of gratuitous stage wizardry. The book is also a must-have for playwrights: Chapter 6 in fact asks all the right questions, examining the boundaries of directorial freedom and the issues of interpretation and authorship that seem to be constantly present in the on-going dialogue between writers and directors, but also among all those involved in the making and the "reading" of the performance, actors and spectators, included.
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