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This title is printed to order. This book may have been self-published. If so, we cannot guarantee the quality of the content. In the main most books will have gone through the editing process however some may not. We therefore suggest that you be aware of this before ordering this book. If in doubt check either the author or publisher’s details as we are unable to accept any returns unless they are faulty. Please contact us if you have any questions.
In a documentation of the set and costume design for Clifford Odets’ Rocket to the Moon (produced by the University of Calgary and per-formed at the University Theatre in Calgary, Alberta Canada in Octo-ber, 2003), this book explores the concept of historical representation in performance. According to both Constantin Stanislavski’s methodo-logy for actor training and Bertolt Brecht’s dramaturgical philosophies, scenic design for the theatre takes on a role that goes far beyond the basic function if indicating time and place. Even though Odets’ play takes place during a specific time in history, the play itself is less a realistic representation of that time, than a representation of how Odets viewed it. Therefore, the nature in which the environment of the play was crafted carried the potential of affecting the play’s inter-pretation, first by the director and actors, then by the designer and the rest of the creative team, and then consequently, by the audience itself.
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This title is printed to order. This book may have been self-published. If so, we cannot guarantee the quality of the content. In the main most books will have gone through the editing process however some may not. We therefore suggest that you be aware of this before ordering this book. If in doubt check either the author or publisher’s details as we are unable to accept any returns unless they are faulty. Please contact us if you have any questions.
In a documentation of the set and costume design for Clifford Odets’ Rocket to the Moon (produced by the University of Calgary and per-formed at the University Theatre in Calgary, Alberta Canada in Octo-ber, 2003), this book explores the concept of historical representation in performance. According to both Constantin Stanislavski’s methodo-logy for actor training and Bertolt Brecht’s dramaturgical philosophies, scenic design for the theatre takes on a role that goes far beyond the basic function if indicating time and place. Even though Odets’ play takes place during a specific time in history, the play itself is less a realistic representation of that time, than a representation of how Odets viewed it. Therefore, the nature in which the environment of the play was crafted carried the potential of affecting the play’s inter-pretation, first by the director and actors, then by the designer and the rest of the creative team, and then consequently, by the audience itself.