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Home , Deborah Warner, Declan Donnellan, Ivo van Hove, Katie Mitchell, Michael Grandage

Bibliography

N. B. The bibliography does not list the live productions included as part of the foregoing discussion or as already referenced in endnotes.

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© The Editor(s) (if applicable) and The Author(s) 2019 249 A. J. Ledger, The Director and Directing, https://doi.org/10.1057/978-1-137-40767-2 250 Bibliography

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Note: Page references for and emotion, 78, 92 illustrations are given in italics and empathy, 78, 78–79, 79, 82 and fame, 14 A and fexibility, 49–52 ACE. See Arts Council England and metaphor, 90–91 action, dramatic, 51, 138–39 Method Acting, 40, 44, 45, 63, 98 Active Analysis (Stanislavski), 41, 45, and motivation, 53–54, 54–55, 47–48, 59–60, 63 89–92 actor-centric direction, 16, 73, 76–78, and movement, 89–92, 91 97–98, 244 and naturalism, 4 actor-directors, 4, 70–71, 71, 164, and personality, 74, 83–84 169, 186–87, 218–20 and puppets, 233–234 actor-managers, 4 as reading, 8, 75–76, 80, 100 actors/acting, 15, 17, 52, 52–53, and realism, 74 69–101, 98 and scenography, 16, 198–9 and artistic vision, 76–77, 79 and self-consciousness, 57 and audience interaction, 83–84, Stanislavski ‘system’, 4–5, 5, 39–48, 206–07, 209–10 61–64 and autonomy, 51–52 by technicians, 228–29 and the body, 42–43, 62, 98, 128, and ‘thickness’ (Mitchell), 56–58 128–29, 223–24, 245–46 toolkit, 43, 51–52 and bravery, 97 training in, 55, 73 and character, 83–85, 92–93 adaptation, 153–54, 167, 169–74, and collaboration, 50, 88–89 185, 210

© The Editor(s) (if applicable) and The Author(s) 2019 261 A. J. Ledger, The Director and Directing, https://doi.org/10.1057/978-1-137-40767-2 262 Index

Adler, Stella, 47 sound, 155, 173, 173–4, 184, 209, aesthetics, 8, 41, 248. See also kinaes- 220–2 thetics; neuroaesthetics video projection, 17, 141–2, 205–6, and physiological responses, 24–25, 214, 224–5, 229 27, 60–61 auteurs/auteurship, 10–11, 11, 12, reward, 24, 27–28, 111, 172–3, 158 216, 222 authority, 89–92, 155–56, 156–57, and unpleasant experiences, 24–25, 176–79, 181 28–29, 93–94 autocours process, 161–162 Alfreds, Mike, 16, 42, 97 autopoiesis, 12, 18–19 Different Every Night, 49–52 Avignon Festival, 14, 167 point of concentration (POC), 50, 59 and Stanislavski’s ‘system’, 40, B 49–52, 62, 63 Barba, Eugenio, 1–2, 5, 10, 152–53, Antigone (), 109, 138–9, 164 141, 211, 211–12 Beckett, Samuel, Krapp’s Last Tape, artistic directors, 9, 160–1 218–20, 222 artistic vision, 20–21, 24, 185, 246–47 Benedetti, Jean, 46 of actors, 76–77, 79 Bergman, Ingmar and collaboration, 70 Persona, 95–96 and hierarchy, 157–9 Scenes from a Marriage, 140, 198, and scenography, 199–200 209–12 Arts Council England (ACE), 14, 153 Birdland (Stephens), 197, 202–03 assemblage, 152–3 Blixen, Karen, 80–83, 151–52, 166 As You Like It (Shakespeare), 200–01, body/bodies 217, 227, 230, 231–32, 233 of actors, 42–43, 62, 98, 128, audiences 128–9, 223–4, 245–6 actors, interactions with, 83–84, and aesthetic responses, 24–25, 27, 206–7, 209–10 60–61 and immersive theatre, 206–7 aestheticised, 95–97 integration into performance, and emotion, 59, 60–61 206–7, 231–2 and empathy, 99–100 and live theatre, 18–19, 74 grotesque, 93–94 perceptions of, 59, 74–75, 79, and movement, 95–97 95–97, 99–100, 111–12 and neuroaesthetics, 223–4 responses, 60–61, 79, 82–83, 111 in performance, 74, 74–75 and scenography, 202–3, 209–10 and reading, 125 and sight/seeing, 195–6, 205–6 and temperature, 56, 58–59 audiovisual technology, 248. See also body/mind separation, 41, 42–43 music Boenisch, Peter, 6, 11–12, 32, 100 flm, 141–42, 203, 214 Boleslavsky, Richard, 46, 47 Index 263

Borovsky, David, 226 Chekhov, Anton Bowman, Elen, 55 The Cherry Orchard, 113–14, brain, 79, 111–2, 230–1, 248. See also 119–20, 127–30, 131–32, 198 neuroaesthetics La Mouette (The Seagull), 84 and aesthetic responses, 26–27, Chekhov, Michael, 42 60–61, 83, 96 Cherry Orchard, The (Chekhov), Broca’s area, 79, 125 109, 113–14, 119–20, 127–30, mirror neurons, 60–61, 79, 111–2 131–32, 198 and sight/seeing, 25–26, 201–3 choreography, 89–90, 91, 96, 121, Branagh, Kenneth, 4 128, 139–41, 219, 223–24 brand, director as, 12, 14–15 Christin-Rommen, Ann, 90–91 Brecht, Bertolt, 5, 84–85, 87 Churchill, Caryl, Say It With Flowers Mother Courage and her Children, (Stein), 31, 109, 111–13, 70 130–31, 133, 132–135 Britten, Benjamin, Peter Grimes, 203 Ciuli, Roberto, 158–59 Brook, Peter, 13 Clachan, Lizzie, 195–96, 196 Büchner, Georg, Danton’s Death, Cleansed (Kane), 24–25, 128, 215 89–92 coaching, 53, 77 co-directors, 179 Coetzee, J.M. Elizabeth Costello, 214 C cognition, 19, 41 Campbell, Topher, 157–158 cognitive science. See neuroaesthetics Carvalho, Luis F., 156, 164 Cole, David, Acting as Reading, 8, 76, casting, 166, 187 80, 100 catalyst, director as, 23, 245–46 Cole, Toby, Directors on Directing, 10 Catzéfis, Valentine, 54 collaboration, 50, 70, 73, 89, 160, characters 248. See also companies/ action, developed by, 48, 50 ensembles and actors, 83–85, 92–93 and devising, 153, 156, 160, 166, biographies of, 41, 55–57, 86, 115, 185–87 121 and scenography, 17, 236 and environment, 56 community theatre, 165 and improvisation, 58 companies/ensembles, 3, 78, 89, 115, and intention, 143 162, 229, 248. See also Cheek by and motivation, 53–54, 54–55 Jowl; Complicité; Frantic Assembly; and puppets, 233–34 Room; Riotous Company; and social situation, 85–86 Royal Shakespeare Company; and storytelling, 86–88 Societas Raffaello Sanzio; Cheek by Jowl, 13, 52, 76, 78 Steppenwolf Theatre Company; As You Like It, 217 Toneelgroep Amsterdam (TGA); Cymbeline, 218 Wooster Group, The Measure for Measure, 78, 217–18 and devising, 166 264 Index

in rehearsal, 136, 138 and audiences, 202–3, 209–10 Complicité, 18, 159, 160, 162, 164, boxes, 195–96, 215 169 and collaboration, 17, 235–36 The Encounter, 151, 153, 154, 162, costume, 182–83, 203–4, 205, 217, 166, 167, 168, 170, 171, 177, 219 184, 187 defnition of, 17–18 Measure for Measure, 18 and devising, 179–84 concepts (neuroaesthetic), 26, 82, 88, écriture scénique, 10 113, 124, 130 and empty space, 198–99, 217, 230 confguration of theatres, 195, 198, and illusion, disruption of, 231–32 202 and installations, 203–4 Cookson, Sally, Jane Eyre, 172 kinetic space, 216 costume, 183, 204, 205, 217, 219 lighting, 17, 141, 184 Cracknell, Carrie, 136, 209 make-up, 219–20 Birdland, 197, 203 and mise en scène, 199–200, 234 The Deep Blue Sea; Deep Blue Sea, and ‘monumental’ space, 214–16 123, 209 narrative, 208–13 and intentions/events, 121, 123, naturalist, 197 126 and neuroaesthetics, 201–3 Julie, 248 and performance, 202–3 Medea, 121 props, 197–98, 203–4, 210, 213– and rehearsal, 123, 136, 142, 143 14, 229, 232–34, 236–37 Craig, Gordon, 5 realist, 197, 206–7 creative producers, 161 and rehearsal, 138, 203–4 creativity, 9, 21, 23, 144, 165, 246 set design, 16, 17, 52, 236–37 Csikszentmihalyi, Mihaly, 21, 23 sightlines, 128 and sound, 209, 220–22 and space, 213–18 D and spatiality, 143–44, 200–1, dance, 128, 217–18 203–4, 234, 236 Danton’s Death (Büchner), 89–92 and time, 199, 213–14 Deep Blue Sea, The (Rattigan), 120–23, totalising, 223–25 208–9 and the vernacular, 201, 228–30 Delgado, Maria M., 10–11, 12–13 and vertical lines, 215–16 Demarcy-Mota, Emmanuel, 93–94, video projection, 17, 141–42, 214, 98, 199 205–6, 224–25, 229 de Sautoy, Marcus, 162 devising, 149–88, 244–45 design, 4, 10, 17–18, 77–78, 156, and authority, 176–79, 181 195–237, 246–47 and collaboration, 152–53, 156, active design, 226 158–60, 165–66, 185–87 and actors, 16, 198–99 and companies/ensembles, 161–66 and artistic vision, 199–200 defnition of, 149–51 Index 265

director’s role in, 156–61 The Actor and the Target, 52–55, and funding, 153 76–77 and hierarchy, 155–56, 157–59 and actors, 16–17, 76–80, 97–98 phases of, 150–53 Cymbeline, 218 and scenography, 179–84 Measure for Measure, 78, 217–18 and text, 160, 174–77 Périclès, Prince de Tyr, 54, 78 and time, 150–53 and scenography, 216 and writers, 160, 166–67, 174–77 and Stanislavski’s ‘system’, 40, Di Benedetto, Stephen, 202 52–55, 63 director-philosophers, 16–17 ‘Tis Pity She’s a Whore, 77–78 directors, 248. See also Alfreds, Mike; As You Like It, 217 Barba, Eugenio; Cracknell, Carrie; doubles Demarcy-Mota, Emmanuel; actor-character, 83–85, 92–93, Donnellan, Declan; Hunter, 94–95 Kathryn; Krymov, Dmitry; actor-director, 94–95, 101, 246 McBurney, Simon; Mitchell, drama Katie; Mnouchkine, Ariane; events, 119, 121, 121–23, 124–25, Ostermeier, Thomas; Pendleton, 125 Austin; Stafford-Clark, Max; intention, 119–23, 121–23, 124– Tuminas, Rimas; van Hove, Ivo; 25, 125, 126, 142–43, 143 Warner, Deborah; Wilson, Robert targets, 53–54, 54–55 actor-directors, 4, 70–71, 71, 164, dramatic situation, 117–19 169, 186–87, 218–20 dramaturgy, 138–39, 175–76 actor-managers, 4 Dream Play, A (Strindberg), 114 actors, relationship with, 15–17, dreams, 24 52–53, 69–101 Duchêne, Kate, 57, 62 artistic directors, 9, 160–61 Duke, Will, 162 authority of, 155–56 BAME, 9 co-directors, 176–79 E as conductor, 76, 244 Eales, Alex, 196, 235 defnition of role, 6–7, 107–8, 244 écriture scénique, 10 as ‘frst spectator’, 75–76, 79–83, eidetic images, 82–83 100, 101 Eidinger, Lars, 83–84 historical development of role, 4–5 Elufowoju, Femi, jr, 82–83 women, 7, 9 emotion, 19–20, 20, 44–45, 59, 78, and writers, 175–76 92, 95–97, 99 diversity, 9, 166, 187 emotion memory, 44, 46–47, 87 Divertimento for Rope and Strings empathy, 78, 78–79, 82, 99–100, 125 (Riotous Company), 165 Encounter, The (Complicité), 151, Dodin, Lev, 5 153, 154, 162, 166, 166–67, 168, Donnellan, Declan, 5, 13, 54, 76 170, 170–71, 177, 184, 186–87 266 Index

Enemy of the People, An (Ibsen), 85, 86 G ensembles/companies, 1–3, 77–78, Garfnkel, Susan, 201 88–89, 114–15, 162, 228–29, Garrick, David, 4 248 gender, 7, 9 and devising, 161–66 geography, 131–32, 143–44 in rehearsal, 136, 138 Gestus, 17, 236–37 enunciation, 8 Grainger, Gawn, 129 études (studies), 130–31 Grandage, Michael, 14 Eugene Onegin (Puskhin), 96–97, 216 grants, 13, 14 Grodal, Torben, 74 Iphigenia at Aulis, 59, 60 grotesque, 93–94 Medea, 121 Grotowski, Jerzy, 5, 10 Phaedra, 236 Guerin, Lucy, 121 Evans, Matthew, 114 Gwenda, Christoph, 86 Even, Charles, 17 events (in dramatic structure), 119, 121, 121–23, 124–25, 125 H events (performance), 18–19, 27–28, Hackley, Tom, 114 234 Halperin-Royer, Ellen, 89 , 167–69 (Shakespeare), 83–84 Harling, Laura, 114 Harvie, Jen, 155–156 F hearing, 24, 60–61, 80–83, 155 failure, 144 Heebnik, Marieke, 95–96 fame, 14 hierarchy, 10, 155–56, 157–59, 185 festivals, theatre, 12–13, 167 Hobday, Peter, 114, 130–31 flm, 141–42, 203, 214 Housley, Kirsty, 173, 176–79 Fischer-Lichte, Erika, 12, 18–19, Hove, Ivo van. See van Hove, Ivo 92–93, 200–1 Hume, David, 24 Ford, John, ‘Tis Pity She’s a Whore, Hunter, Kathryn 77–78 Kafka’s Monkey, 165 Fountainhead, The (Rand/Tachalet), Out of Blixen, 80–83, 107, 151–52, 109, 136–38, 137, 141, 197–98, 154–55, 170, 197 213–14, 245 Huppert, Isabelle, 91 fourth wall, 128, 195–96, 208–9 Hutcheon, Linda, 153–54 Fowler, Benjamin, 6 Fox, Phoebe, 140 François, Guy-Claude, 213 I Frantic Assembly, 160 Ibsen, Henrik, An Enemy of the People, Fry, Gareth, 156, 162 85, 86 funding, 13–15, 153, 162 ideas, 230–31 Index 267 illusion, disruption of, 204, 208–9, Koolschijn, Hugo, 140 231–32 Kramer, Mette, 74 imagery, 136 Krapp’s Last Tape (Beckett), 218–20, images, eidetic, 82–83 222 immersive theatre, 17, 206 Krich Chinoy, Helen, Directors on improvisation, 41, 58, 59–60, 130, Directing, 10 140 Krymov, Dmitry, 18, 225–34 installations, 17, 203–4 A Midsummer Night’s Dream (As intention/intentions, 119, 119–23, You Like It), 200–1, 227, 230, 124–25, 125, 126, 142–43, 143 231–32, 233 Internationaal Theater Amsterdam. See Opus No. 7, 226, 227, 229, 229, Toneelgroep Amsterdam (TGA) 230–31, 233 internationalism, 12–13, 164, 166 vernacular design, 228–30 interpretation, 5, 41, 45, 48–49, Kwei-Armah, Kwame, 9 115–17 intonation, 5, 219 Iphigenia at Aulis (Euripides), 59, 60 L Irving, Henry, 4 Laban, Rudolf, 42 laboratory theatre, 10 Labrèche, Marc, 224 J Lamford, Chloe, 215, 235–36 Jackson, Sean, 114, 130 Larsen, Tage, 165 James, William, 44, 44–45 Laukvik, Else Marie, 165 Julie (Stenham), 247–248 LeCompte, Elizabeth, 159 juxtaposition, 26–27, 139, 141 Lecoq, Jacques, 161–62, 227–28 Lehmann, Hans-Thies, 5 Lehrer, Jonah, 28–29 K Lepage, Robert, Needles and Opium, Kafka’s Monkey (Kodjabashia), 165 223–25, 224 Kane, Sarah Letzler Cole, Susan, 6–7 Cleansed, 24–25, 128, 215 lighting, 17, 141, 184 Phaedra’s Love, 214 listening, 60–61, 81 Kantor, Tadeusz, 71 Lloyd, Phyllida, 198–99, 203 kinaesthetics, 24, 27, 79, 128–29, Peter Grimes, 204–5 131–32, 216, 223–24, 225 Long Day’s Journey Into Night Klamar, Natalie, 128 (O’Neill), 205 Knowles, Jack, 114 Love (Zeldin), 206–7 Kodjabashia, Nikola, 181–82 Kafka’s Monkey, 165 Penelope X, 164 M Kogan, Sam, 55 (Shakespeare), 1 268 Index

Machon, Josephine, 206 mise en scène, 4, 10, 14–15, 72–73, MacNeil, Ian, 197, 202–3 111, 199–200, 234 Maes, Francis, 81, 220–21 Mitchell, Katie, 6, 9, 13, 15–16, 16, Magni, Marcello, 174, 181 42, 59 make-up, 219–20 A Dream Play, 114 Malin, Sarah, 114, 131 and character development, 55–57, Manfull, Helen, 7 86, 130 Martynova, Vera, 227 The Cherry Orchard, 114, 120, 127, masks, 219–20 128, 130, 132, 198 Maynard Smith, Julian, 158 The Director’s Craft, 109 McAuley, Gay, 30–31, 31, 110 and improvisation, 130 McBurney, Simon, 17–18, 151, 153, and intentions/events, 119–20, 159, 164, 186–187 126 The Encounter, 153, 154, 166, and neuroaesthetics, 60–61 166–67, 168, 170, 170–71, and rehearsal, 48, 98, 113–17, 177, 184, 186–87 119–20, 142, 143 Measure for Measure, 17–18 and scenography, 5, 198, 215 McCrory, Helen, 121, 208–9 and Stanislavski’s ‘system’, 40, 41, McLeish, Lily, 114 61–63 Measure for Measure (Shakespeare), circles of place, 131–32 17–18, 78, 217–18 Cleansed, 25, 128, 215 Medea (Euripides), 121 Iphigenia at Aulis, 59, 60 Meierjohann, Walter, 165 Ophelias Zimmer, 215 Meisner, Sanford, 88, 98 Say It With Flowers, 31, 133, 109, memory, 44, 46–47, 87 113, 131, 135 Merlin, Bella, 43 The Trial of Ubu, 57–58 metaphor, 90–91, 136 Mnouchkine, Ariane, 10, 159, 160, Method Acting, 40, 44, 45, 63, 98 213 Method of Physical Action, 45, 47, 63 Molière, Tartuffe, 47 Meyer, Pippa, 114 Month in the Country, A (Turgenev), Miall, David S., 111–12, 125, 143, 46 221–22 Mortimer, Vicky, 196, 198, 235 Midsummer Night’s Dream, A (As You Mother Courage and her Children Like It) (Shakespeare), 231–32 (Brecht), 70 Miller, Arthur, , Mouawad, Waidi, 214 140, 205, 220 movement, 5, 100, 121, 248. See also mind, theory of (TOM), 29–30, 39, kinaesthetics 96 and actors, 90–92 mind/body separation, 41, 42–43 and rehearsal, 136, 141 mirror neurons, 60–61, 79, 111–12 and scenography, 237 Index 269

and the body, 97 and underscoring, 221–22 emotive, 97, 99 and vertical lines, 215–16 music, 77–78, 217–18, 220, 229 neurons, mirror, 60–61, 79, 111–12 and neuroaesthetics, 184–85 neurotypicality, 25 underscore, 209, 220–222, 237 Ninagawa, Yukio, 2–3, 3 Northgraves, Sarah, 114 notes (directorial), 136 N Nakamura, Jeanne, 21, 23 naturalism, 4, 10, 117, 197, 206–7 O Needles and Opium (Lepage), 223–25, objectivity, 87 224 observation of rehearsal, 30–32, Nelson, Barnaby, 9, 20–21 89–92, 107, 109–10, 141 Nelson, Robin, 31–32 Obsession (Visconti), 198, 211–12 neuroaesthetics, 24–30, 26–27, 83, Odin Teatret, 2, 10, 152–53, 164–65 96, 248. See also brain O’Kane, Patrick, 139 and audiences, 60–61 Olear, Tatiana, 55 and the body, 223–24 O’Neill, Eugene, Long Day’s Journey concepts, 25–26, 82, 87–88, into Night, 204–5 112–13, 123–24 Opus No. 7 (Krymov), 226, 227, 229, and creativity, 19, 20 229, 230–31, 233 defnition of, 7–9 Ormerod, Nick, 16, 52, 77–78, 76, and emotion, 44–45 216, 235 and empathy, 79 As You Like It, 217 and improvisation, 130 Measure for Measure, 217–18 limitations of, 246 Ostermeier, Thomas, 6, 13, 70, and live theatre, 74 84–85, 84, 98 and movement, 95–97, 223–24 and actors, 74, 83–89, 98 and music, 184–85 An Enemy of the People, 85, 86 and objects, 232–34 Hamlet, 83–84 PECMA fow model, 74, 79, 99 Richard III, 83–84 and perception, 99–100 and Stanislavski’s ‘system’, 87 and props, 232–34 storytelling, 86–88, 99 and rehearsal, 111–13, 144 Oswald, Peter, 165 reward, 24, 27–28, 28–29, 111, Ouspenskaya, Maria, 46 172–73, 216, 222 Out of Blixen (Tickell), 80–83, 151– and scenography, 201–3 52, 154–55, 166, 166–67, 170, and sight/seeing, 25–26, 201–3 171–72, 172, 175–76, 179–84, and sound, 173, 221–22 183, 187–88, 197 and storytelling, 87 270 Index

P playwrights, 10, 156–57 Pappelbaum, Jan, 71, 196 and devising, 160, 166–67, 174–77 Pavis, Patrice, 4, 13, 14–15, 72, pleasure, 24, 27–28, 111, 172–73, 199–200 216, 222 PECMA fow model, 74, 79, 99 point of concentration (POC), 50, 59 Pendleton, Austin politics/political theatre, 10, 12–13, and rehearsal, 117–19, 142 84–85, 99, 157–58, 164–65, Tribes, 109, 117–19 229–30 performance, 27–28, 74–75, 117–19, Popescu, Petru, Amazon Beaming, 203 154, 167, 170–71 and audiences, 18–19, 206–7, positionality 231–32 of director, 73 events, 18–19, 27–28, 234 of researcher, 30–32, 107, 109–10, variability of, 22–23, 49–52 141 and the vernacular, 201 Producer, creative, 160–61 performance score, 90–91, 117, producer-autocrat directors, 10 118–19, 140, 143–44 producer-instructor, 5 Périclès, Prince de Tyr (Shakespeare), projection (audiovisual), 17, 141–42, 54, 78 205–6, 214, 224–25 Persona (Bergman/van Hove), 95–96 props, 197–98, 203–4, 210, 213–14, personality 229, 232–34, 236–37 of actor, 74, 83–84 puppets, 229, 230–31, 232–34 of director, 15, 19–21, 23 Pushkin, Alexander, Eugene Onegin, Peter Grimes (Britten), 203 96–97, 216 Phaedra(s) (Warlikowski), 214–15, 236 physicality, 164, 165, 181–82, 200–1 R Pirandello, Luigi, Six Characters in race, 9 Search of an Author, 93–94, 199 Radford, Mike, 19–20 place, 131–32, 143–44 Radosavljević, Duška, 150 Planchon, Roger, 10 Raine, Nina, Tribes, 109, 117–19 play/games, 53–54 Rand, Ayn, The Fountainhead, 109, playtext 136–38, 137, 141, 197–98, adaptation, 153–54, 167, 169–174, 213–14, 245 185, 210 Rattigan, Terence, The Deep Blue Sea, analysis of, 5, 41, 45, 48–49, 120–23, 208–9 115–17 Rawlings, David, 9, 20–21 and authority, 10–11 reading in devising, 160, 174–77 and acting, 8, 75–76, 80, 100 and improvisation, 41 and kinaesthetics, 125 reading of, 75–76, 100 as physical process, 100 sectioning of, 121–23 of playtext, 75–76, 100 Index 271 realism, 4, 74, 117, 121, 197, 206–7 S Rebellato, Dan, 10–11, 12–13 Salinger, Justin, 59 Red Room, The (company), 157–58 Say It With Flowers (Churchill/Stein), Regie tradition, 6 31, 109, 111–13, 130–31, rehearsal, 17–18, 39, 77, 88, 107–45 132–35, 133 and action, 138–39 Scenes from a Marriage (Bergman), and character biographies, 115, 121 140, 198, 209–12 and events, 119, 121–23, 124–25 scenography, 4, 10, 77–78, 156, experimental, 132–35 195–237, 246–47 and improvisation, 129–31 active design, 226 and intention, 119–23, 124–25 and actors, 16, 198–99 and movement, 135–36, 139–41 and artistic vision, 199–200 and neuroaesthetics, 124–25 and audiences, 202–3, 209–10 and objects, 181 boxes, 195–96, 215 observation of, 30–32, 89–92, 107, and collaboration, 17, 235–36 109–10, 141 costume, 182–83, 203–4, 205, 217, and performance, 117–19 219 and place, 128–36 defnition, 17–18 and playtext analysis, 115–17 and devising, 179–84 and scenography, 138, 203–4 and directors, 17 and space, 128–36 écriture scénique, 10 Reijn, Halina, 141 and empty space, 198–99, 217, 230 reputation, 12, 14–15 geography, 143–44 reward, aesthetic, 27–28, 111, 216, and illusion, disruption of, 231–32 222 and installations, 203–4 Reynolds Hapgood, Elizabeth, 45–46 kinetic space, 216 Richard II (Shakespeare), 72–73 lighting, 17, 141, 184 Richard III (Shakespeare), 83–84 make-up, 219–20 Riotous Company, 153, 162–63, 164 and mise en scène, 199–200, 234 Divertimento for Rope and Strings, and ‘monumental’ space, 214–16 165 and movement, 237 Out of Blixen, 80–83, 107, 151–52, narrative, 208–13 154–55, 166–67, 170, 171–72, naturalist, 197 172, 175–76, 179–84, 183, and neuroaesthetics, 201–3 187–88, 197 and objects, 236–37 Scherzo for Piano and Stick, 165 and performance, 202–3 Roman Tragedies (Shakespeare/van as process, 202–3 Hove), 204, 205–6, 207 posterior, 208–9 Royal Shakespeare Company props, 198, 203–4, 210, 213–14, , 17 229, 232–4, 237 , 13 realist, 197, 206–7 Russian Theatre Federation, 76 and rehearsal, 138, 203–4 272 Index

set design, 16, 17, 52, 236–37 and audiences, 195–96, 205–206 and sight/seeing, 201–3 and neuroaesthetics, 25–26, 201–3 sightlines, 128 sightlines, 128 and sound, 209, 220–22 site-based theatre, 17 and space, 213–18 Six Characters in Search of an Author and spatiality, 200–1, 203–4, 234, (Pirandello), 93–94, 199 236 sketches, 90 and technology, 17–18 Smart, Jackie, 151 and the vernacular, 201, 228–30 Societas Raffaello Sanzio, Giulio and time, 199, 213–14 Cesare (), 92–93 and vertical lines, 215–16 Sofa, Gabriele, 8 totalising, 223–25 Sonnette (Sonnets, Shakespeare), 1, 97 video projection, 17, 141–42, Sophocles, Antigone, 138–39, 141, 205–6, 214, 224–25, 229 211–12 Scherzo for Piano and Stick (Riotous sound, 18, 24, 60–61, 80–83, 156, Company), 165 248. See also music Seagull, The (La Mouette, Chekhov), binaural, 155, 173–74 84 hearing, 24, 60–61, 80–83, 155 Seneca, Phaedra, 214 and neuroaesthetics, 221–22 set design, 16, 17, 52, 236–37 and scenography, 209, 220–22 Shakespeare, William, 1 underscore, 209, 220–22, 237 As You Like It, 200–1, 217, 227, space, 143–44, 199, 213–18 230, 231–32, 233 Spacey, Kevin, 4 Cymbeline, 218 spatiality, 200–1, 203–4, 234, 236 Giulio Cesare (Julius Caesar), 92–93 speech, 5, 8, 219 Hamlet, 83–84 Stafford-Clark, Max, 40, 48–49, 62, Macbeth, 1 63 Measure for Measure, 17–18, 78, Stanislavski, Konstantin, 4–5, 23, 217–218 39–48, 142–43 A Midsummer Night’s Dream, Active Analysis, 41, 45, 47–48, 200–1, 227, 230, 231–32, 233 59–60, 63 Périclès, Prince de Tyr, 54, 78 An Actor Prepares, 45–46 Richard II, 72–73 An Actor’s Work, 46 Richard III, 83–84 Method of Physical Action, 41, 45, Roman Tragedies (van Hove), 204, 47, 63 205–6, 207 A Month in the Country, 46 Sonnette (Sonnets), 97 ‘system’, 4–5, 39–48, 61–64 The Tempest, 17 Tartuffe, 47 Troilus and Cressida, 13 Stanislavsky Electrotheatre (Moscow), Shaw, Fiona, 60, 70, 72–73, 97, 101 1–3, 2 Sidiropoulou, Avra, 6 Starr, G. Gabrielle, 19, 26–27, 27–28, sight and seeing, 76–79 29, 41, 44 Index 273 stars (actors), 14 video projection, 17, 141–2, 205–6, Station House Opera, The Other is 214, 224–25, 229 You, 158 temperature, 56, 58–59 Stein, Gertrude, Say It With Flowers, Tempest, The (Shakespeare), 17 31, 109, 111–13, 130–31, text 132–35, 133 adaptation, 153–54, 167, 169–74, Stenham, Polly, Julie, 247–48 185, 210 Stephens, Simon analysis of, 5, 41, 45, 48–49, Birdland, 197, 202–3 115–17 The Trial of Ubu, 57–58 and authority, 10–11 Steppenwolf Theatre Company, 109 and devising, 160, 174–77 Stewart, Catrin, 127 embodiment of, 8 Stoff (concept), 84–85 enunciation of, 8 Stone, Simon, Yerma, 195–96, 221 and improvisation, 41 storifcation, 73 reading of, 75–76, 100 storyboarding, 90 sectioning of, 121–23 storytelling, 86–88, 99 thea, concept of, 11–12, 100 Strasberg, Lee, 46–47, 248. See also theatrality, 11–12, 100, 139 Method Acting theatre confguration, 195, 198, Strindberg, August 201–2 A Dream Play, 114 theatre festivals, 10–13, 167 , 247–48 Theil Have, Mia, 81, 164–65 Strong, Mark, 140 Out of Blixen, 154–55, 166, 172, subjectivity, 41, 73 181–82, 183 substitution, 82–83 Penelope X, 164–65 surrealism, 93–94 Theory of Mind (TOM), 29–30, 39, sympathy, 78 96 Szczęśniak, Małgorzata, 214–15 Thiarai, Kully, 9 Tickell, Paul, 80–83, 151–152, 154–155, 160 T Out of Blixen, 166–67, 171–72, Tachalet, Koen, The Fountainhead, 175–76, 179–84, 183, 187–88 109, 136–38, 137, 141, 197, time, 151–53, 199, 213–14 213–14, 245 ’Tis Pity She’s a Whore (Ford), 77–78 targets (Donnellan), 53–54, 54–55 Toneelgroep Amsterdam (TGA), 13, Tartuffe (Molière), 47 109, 136–42 technicians (as actors), 228–29 Toporkov, Vasili, 47–48 technology, 5, 17–18, 173–74, 186 training, 161–62, 164, 226–27 flm, 141–42, 203, 214 Tregubova, Maria, 227 sound, 155, 173–74, 184, 209, Trevis, Di, 15 220–22 Trial of Ubu, The (Stephens), 57–58 274 Index

Tribes (Raine), 109, 117–19 video projection, 17, 141–2, 205–6, Trimingham, Melissa, 232–34 214, 224–25, 229 Troilus and Cressida (Shakespeare), 13 View from the Bridge, A (Miller), 140, Tuminas, Rimas, 96–97 205, 220 Eugene Onegin, 96–97, 216 Visconti, Luchino, Obsession, 198, Turgenev, Ivan, A Month in the 211–12 Country, 46 vision (artistic), 20–21, 24, 185, 246–47 of actors, 76–77, 79 U and collaboration, 70 underscore, 209, 220–22, 237 and hierarchy, 157–59 and scenography, 199–200 vision (sight), 25–26, 76–79, 82–83 V and audiences, 195–96, 205–6 van Hove, Ivo, 6, 13, 95–96, 140–41, and neuroaesthetics, 25–26, 201–3 206, 220–22 voice, 5, 8, 219 Antigone, 109, 138–39, 141, 211, 211–12 The Fountainhead, 109, 136–38, W 137, 141, 197–98, 213–14, 245 Warlikowski, Krzysztof, Phaedra(s), Long Day’s Journey into Night, 205 214–5, 236 Obsession, 198, 211–12, 220 Warner, Deborah, 69, 70, 78–79 Persona, 95–96 Richard II, 72–73 and rehearsal, 107, 136–42, 143 and Shaw, Fiona, 73, 97, 101 Roman Tragedies, 204, 205–6, 207 Weigand, Jon David, 91 Scenes from a Marriage, 140, 198, Whyman, Rose, 42–43 209–12, 212 Wilson, Robert, 70, 89–90, 100 and scenography, 198, 203–6, and actors, 71–72, 89–92, 100 209–13 Danton’s Death, 89–92 A View from the Bridge, 140, 205, Einstein on the Beach: The Changing 220 Image of Opera, 89–90 Van Kraaij, Peter, 138–39 Krapp’s Last Tape, 218–20, 222 Vasiliev, Anatoly, 2, 5 Sonnette, 97 vernacular design, 201, 228–30 women directors, 7, 9, 248. See also Versweyveld, Jan, 138, 141, 196, 198, Cracknell, Carrie; Housley, Kirsty; 203–4, 204–5, 211–13 Hunter, Kathryn; Lloyd, Phyllida; The Fountainhead, 213–14 Mitchell, Katie; Mnouchkine, Roman Tragedies, 207 Ariane; Warner, Deborah Scenes from a Marriage, 209–10, Wooster Group, The, 13, 159 212 workshops, 89–92, 167 Index 275 writers, 156–57 Z and devising, 160, 166–67, 174–77 Zeki, Semir, 8, 24, 25–26, 29, and directors, 175–76 123–24, 197, 201–3, 215–16 Zeldin, Alexander, Love, 206–7

Y Yerma (Stone, Simon), 195–96, 221 Young Vic (London), 128, 195–96, 198 Yukhananov, Boris, 1–3, 2