Brooks/Jackson’s level Cleopatra: production and reception
http://dx.doi.org/10.5007/2175-8026.2000n39p95 The influence which current views on dramatic theory and technique have exercised upon theatrical productions has long been the object of scholarly inquiry. Peter Brook’s The Empty Space (1968; rpt. 1990), for instance, can be a helpful tool in the...
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| Format: | Article |
| Language: | English |
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Universidade Federal de Santa Catarina
2000-07-01
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| Series: | Ilha do Desterro |
| Online Access: | https://periodicos.ufsc.br/index.php/desterro/article/view/7601 |
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| author | José Roberto O’Shea |
| author_facet | José Roberto O’Shea |
| author_sort | José Roberto O’Shea |
| collection | DOAJ |
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http://dx.doi.org/10.5007/2175-8026.2000n39p95
The influence which current views on dramatic theory and technique have exercised upon theatrical productions has long been the object of scholarly inquiry. Peter Brook’s The Empty Space (1968; rpt. 1990), for instance, can be a helpful tool in the study of Brook’s own 1978 Royal Shakespeare Company production of Antony and Cleopatra, with Glenda Jackson and Alan Howard in the title roles. The production followed by eight years the now legendary “circus” Midsummer Night’s Dream which Brook had staged for the RSC in 1970, and reviewers were virtually unanimous in praising the production’s innovative, swiftly-paced set.
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| format | Article |
| id | doaj-art-8e5bd4a6b85d45fe8b9437304c653f61 |
| institution | DOAJ |
| issn | 0101-4846 2175-8026 |
| language | English |
| publishDate | 2000-07-01 |
| publisher | Universidade Federal de Santa Catarina |
| record_format | Article |
| series | Ilha do Desterro |
| spelling | doaj-art-8e5bd4a6b85d45fe8b9437304c653f612025-08-20T02:42:59ZengUniversidade Federal de Santa CatarinaIlha do Desterro0101-48462175-80262000-07-013910.5007/2175-8026.2000n39p957006Brooks/Jackson’s level Cleopatra: production and receptionJosé Roberto O’Shea0Universidade Federal de Santa Catarina http://dx.doi.org/10.5007/2175-8026.2000n39p95 The influence which current views on dramatic theory and technique have exercised upon theatrical productions has long been the object of scholarly inquiry. Peter Brook’s The Empty Space (1968; rpt. 1990), for instance, can be a helpful tool in the study of Brook’s own 1978 Royal Shakespeare Company production of Antony and Cleopatra, with Glenda Jackson and Alan Howard in the title roles. The production followed by eight years the now legendary “circus” Midsummer Night’s Dream which Brook had staged for the RSC in 1970, and reviewers were virtually unanimous in praising the production’s innovative, swiftly-paced set. https://periodicos.ufsc.br/index.php/desterro/article/view/7601 |
| spellingShingle | José Roberto O’Shea Brooks/Jackson’s level Cleopatra: production and reception Ilha do Desterro |
| title | Brooks/Jackson’s level Cleopatra: production and reception |
| title_full | Brooks/Jackson’s level Cleopatra: production and reception |
| title_fullStr | Brooks/Jackson’s level Cleopatra: production and reception |
| title_full_unstemmed | Brooks/Jackson’s level Cleopatra: production and reception |
| title_short | Brooks/Jackson’s level Cleopatra: production and reception |
| title_sort | brooks jackson s level cleopatra production and reception |
| url | https://periodicos.ufsc.br/index.php/desterro/article/view/7601 |
| work_keys_str_mv | AT joserobertooshea brooksjacksonslevelcleopatraproductionandreception |