After Miss Julie by Patrick Marber

By Patrick Marber

A brand new model of an international vintage by means of certainly one of Britain's best-known modern playwrights. After omit Julie relocates August Strindberg's pass over Julie (1888) to an English state condominium in July 1945. during this radical re-imagining of theatre's first "naturalistic tragedy" the occasions of Strindberg's unique are transposed to the evening of the British Labour Party's "landslide" election victory.

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Meyerhold's The Inspector Genera! was a sort of collage of the texts of Gogol. Consequently, it is not our fine ideas but our practice which constitutes the test. What is the task of the theatre in respect to literature? The core of the theatre is an encounter. The man who makes an act of self-revelation is, so to speak, one who establishes contact 56 THEATRE IS AN ENCOUNTER with himself. That is to say, an extreme confrontation, sincere, disciplined, precise and total - not merely a confrontation with his thoughts, but one involving his whole being from his instincts and his unconscious right up to his most lucid state.

Padova. 1965) and Tulane Drama Review (New Orleans, T 27, 1965). Translation: Simone Sanzenbach. Akropolis was produced by Jerzy Grotowski. His main collaborator in this production was the well known polish stage designer, Josef Szajna, who also designed the costumes and props. The scenic architecture was by Jerzy Gurawskl. Principal characters: Jacob, the harpist, leader of the dying tribe - Zygmunt Molik; Rebecca Cassandra - Rena Mirecka; Isaac - Antonl Jaholkowski; Angel Paris - Zbigniew Cynkutis or Mieezyslaw Janowski; Esau - Ryszard Cieslak.

He must be able to express, through sound and movement, those impulses which waver on the borderline between dream and reality. In short, he must be able to construct his own psycho-analytic language of sounds and gestures in the same way that a great poet creates his own language of words. If we take into consideration for instance the problem of sound, the plasticity of the actor's respiratory and vocal apparatus must be infinitely more developed than that of the man in the street. Furthermore, this apparatus must be able to produce sound reflexes so quickly that thought - which would remove all spontaneity - has no time to intervene.

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