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Peter Stephen Paul Brook was an English theatre and film director. He worked first in England, from 1945 at the Birmingham Repertory Theatre, from 1947 at the Royal Opera House, and from 1962 for the Royal Shakespeare Company (RSC). With them, he directed the first English-language production in 1964 of Marat/Sade by Peter Weiss, which was transferred to Broadway in 1965 and won the Tony Award for Best Play, and Brook was named Best Director. He also directed films such as an iconic version of Lord of the Flies in 1963.
Antoine Marie Joseph Paul Artaud, better known as Antonin Artaud, was a French artist who worked across a variety of media. He is best known for his writings, as well as his work in the theatre and cinema. Widely recognized as a major figure of the European avant-garde, he had a particularly strong influence on twentieth-century theatre through his conceptualization of the Theatre of Cruelty. Known for his raw, surreal and transgressive work, his texts explored themes from the cosmologies of ancient cultures, philosophy, the occult, mysticism and indigenous Mexican and Balinese practices.
Michel de Ghelderode was an avant-garde Belgian dramatist, from Flanders, who spoke and wrote in French. His works often dealt with the extremes of human experience, from death and degradation to religious exaltation. He wrote plays and short stories, and was a noted letter writer.
Grigorii Petrovich Maksimov was a Russian anarcho-syndicalist. From the first days of the Russian Revolution, he played a leading role in the country's syndicalist movement – editing the newspaper Golos Truda and organising the formation of factory committees. Following the October Revolution, he came into conflict with the Bolsheviks, who he fiercely criticised for their authoritarian and centralist tendencies. For his anti-Bolshevik activities, he was eventually arrested and imprisoned, before finally being deported from the country. In exile, he continued to lead the anarcho-syndicalist movement, spearheading the establishment of the International Workers' Association (IWA), of which he was a member until his death.
Experimental theatre, inspired largely by Wagner's concept of Gesamtkunstwerk, began in Western theatre in the late 19th century with Alfred Jarry and his Ubu plays as a rejection of both the age in particular and, in general, the dominant ways of writing and producing plays. The term has shifted over time as the mainstream theatre world has adopted many forms that were once considered radical.
Physical theatre is a genre of theatrical performance that encompasses storytelling primarily through physical movement. Although several performance theatre disciplines are often described as "physical theatre", the genre's characteristic aspect is a reliance on the performers' physical motion rather than, or combined with, text to convey storytelling. Performers can communicate through various body gestures.
Drama therapy is the use of theatre techniques to facilitate personal growth and promote mental health. Drama therapy is used in a wide variety of settings, including hospitals, schools, mental health centers, prisons, and businesses. Drama therapy, as a modality of the creative arts therapies, exists in many forms and can apply to individuals, couples, families, and various groups.
The Theatre of Cruelty is a form of theatre conceptualised by Antonin Artaud. Artaud, who was briefly a member of the surrealist movement, outlined his theories in a series of essays and letters, which were collected as The Theatre and Its Double. The Theatre of Cruelty can be seen as a break from traditional Western theatre and a means by which artists assault the senses of the audience. Artaud's works have been highly influential on artists including Jean Genet, Jerzy Grotowski, Peter Brook, and Romeo Castellucci.
The Cenci. A Tragedy, in Five Acts (1820) is a verse drama in five acts by Percy Bysshe Shelley written in the summer of 1819, and inspired by a real Roman family, the House of Cenci. Shelley composed the play in Rome and at Villa Valsovano near Livorno, from May to 5 August 1819. The work was published by Charles and James Ollier in London in 1819. The Livorno edition was printed in Livorno, Italy by Shelley himself in a run of 250 copies. Shelley told Thomas Love Peacock that he arranged for the printing himself because in Italy "it costs, with all duties and freightage, about half of what it would cost in London." Shelley sought to have the play staged, describing it as "totally different from anything you might conjecture that I should write; of a more popular kind... written for the multitude." Shelley wrote to his publisher Charles Ollier that he was confident that the play "will succeed as a publication." A second edition appeared in 1821, his only published work to go into a second edition during his lifetime.
Character dance is a specific subdivision of classical dance. It is the stylized representation of a traditional folk or national dance, mostly from European countries, and uses movements and music which have been adapted for the theater.
Charles Dullin was a French actor, theater manager and director.
The Samed Vurgun Azerbaijan State Russian Drama Theatre, is a performing art located in Baku, Azerbaijan, that produced plays in the Russian language. The performances of the theatre are mainly from the Russian works of art and literature, and the remainder are performances from Azerbaijani and European classical writers.
Conceptualised by 20th century German director and theatre practitioner Bertolt Brecht (1898–1956), "The Modern Theatre Is the Epic Theatre" is a theoretical framework implemented by Brecht in the 1930s, which challenged and stretched dramaturgical norms in a postmodern style. This framework, written as a set of notes to accompany Brecht's satirical opera, ‘Rise and Fall of the City of Mahagonny’, explores the notion of "refunctioning" and the concept of the Separation of the Elements. This framework was most proficiently characterised by Brecht's nihilistic anti-bourgeois attitudes that “mirrored the profound societal and political turmoil of the Nazi uprising and post WW1 struggles”. Brecht's presentation of this theatrical structure adopts a style that is austere, utilitarian and remains instructional rather than systematically categorising itself as a form that is built towards a more entertaining and aesthetic lens. ‘The Modern Theatre Is the Epic Theatre’ incorporates early formulations of Brechtian conventions and techniques such as Gestus and the V-Effect. It employs an episodic arrangement rather than a traditional linear composition and encourages an audience to see the world as it is regardless of the context. The purpose of this new avant-garde outlook on theatrical performance aimed to “exhort the viewer to greater political vigilance, bringing the Marxist objective of a classless utopia closer to realisation”.
Valery Aleksandrovich Gavrilin (Russian: Валерий Александрович Гаврилин, was a Soviet and Russian composer. People's Artist of the RSFSR.
A play is a form of drama that primarily consists of dialogue between characters and is intended for theatrical performance rather than mere reading. The creator of a play is known as a playwright.
The following is a timeline of the history of the city of Saint Petersburg, Russia.
Alfred Poznański, better known by his alias Alfred Savoir, was a Polish-born French comedy playwright.
Victor Aleksandrovich Kostetskiy was a Russian and Soviet actor.
Signals Through the Flames is a 1983 documentary film on the work of Julian Beck and Judith Malina as the founders of The Living Theatre performance company. The title of the film is taken from the work of Antonin Artaud in his book on theatre theory called The Theatre and its Double. The film was produced by Mystic Fire Video as a project of the now defunct Mystic Fire Video bookstore in New York City. It was directed and edited by Sheldon Rochlin.
Tania Balachova (1902-1973) was a French actress and director of Russian origin. After World War II, she became one of the most influential actor training teachers in France.
