The Director and Directing

This book critically assesses the artistry of contemporary directors. Its discussion includes the work of Declan Donnellan, Thomas Ostermeier, Deborah Warner, Simon Stone and Krzysztof Warlikowski. Alongside the work of wider theorists (Patrice Pavis and Erika Fischer-Lichte), it uses neuroaesthetic theory (Semir Zeki) and cognitive and creative process models to offer an original means to discuss the performance event, emotion, brain structures and concepts, and the actor's body in performance. It offers first-hand observation of rehearsals led by Katie Mitchell, Ivo van Hove, Carrie Cracknell and the Steppenwolf Theatre. It also explores devising in relation to the work of Simon McBurney and contemporary groups, and scenography in relation to the work of Dmitry Krymov, Robert Wilson and Robert Lepage. The Director and Directing argues that the director creates a type of knowledge, 'reward' and 'resonant experience' (G. Gabrielle Starr) through instinctive and expert choices.

Autorentext

Adam J. Ledger is Reader in Theatre and Performance, University of Birmingham, UK. He has published widely on performance practice. His previous publications include Odin Teatret: Theatre in a New Century (Palgrave Macmillan) and chapters and articles on several international directors. He is co-artistic director of The Bone Ensemble.

Klappentext
This book critically assesses the artistry of contemporary directors. Its discussion includes the work of Declan Donnellan, Thomas Ostermeier, Deborah Warner, Simon Stone and Krzysztof Warlikowski. Alongside the work of wider theorists (Patrice Pavis and Erika Fischer-Lichte), it uses neuroaesthetic theory (Semir Zeki) and cognitive and creative process models to offer an original means to discuss the performance event, emotion, brain structures and concepts, and the actor's body in performance. It offers first-hand observation of rehearsals led by Katie Mitchell, Ivo van Hove, Carrie Cracknell and the Steppenwolf Theatre. It also explores devising in relation to the work of Simon McBurney and contemporary groups, and scenography in relation to the work of Dmitry Krymov, Robert Wilson and Robert Lepage. The Director and Directing argues that the director creates a type of knowledge, 'reward' and 'resonant experience' (G. Gabrielle Starr) through instinctive and expert choices.

Zusammenfassung
This book seeks to fill a major gap in scholarship by critically examining both the figure of the director and the practice of directing, in order to show how the role and work of a range of contemporary directors can be conceived. The Director and Directing discusses the commonalities and divergences in directors' work, and the key questions and concerns that pervade directorial practice today. The book benefits from first-hand accounts of directors' work, based on original interviews with both directors (such as Katie Mitchell) and actors, along with designers and writers.

Inhalt

1. Introduction: the Director.- 2. The Director and Stanislavski.- 3. The Director and the Actor.- 4. 'In the Room': the Director and Rehearsal.- 5. 'Making Something from Within': the Director and Devising.- 6. Design and the Director.- 7. Conclusion(s): the Director and Choice.