By David Bradby
The significant shows of 7 post-war administrators are tested intimately, with emphasis on each one individual's remedy of vintage performs, method of appearing ideas and opinion of theatre's ongoing function and serve as within the moment 1/2 the 20 th century.
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Extra resources for Directors’ Theatre
Sample text
This had a dual purpose: both to interrupt the flow of the story, emphasising its contradictory qualities, and to take the 'human social incidents to be portrayed and labelling them as something striking, something that calls for explanation, is not to be taken for granted, not just natural'. 11 When he became director of the Berliner Ensemble after the Second World War, he applied this method to his own plays, refusing to take anything for granted and quite willing to rewrite when necessary. In this company he tried to form a group whose leadership was collective, so as to ensure that 19 Directors' Theatre everybody's opinion was considered.
From the very beginning the basis of Planchon's work was anti-naturalistic: performances were acrobatic, and the few objects used on stage acquired unusual significance. The result was a style of great intensity, very convincing in its individual elements, but constantly confronting reality rather than imitating it, like a surrealist painting. In 1953 Planchon gave his first premiere of a contemporary author with Le Professeur Taranne and Le Sens de la marche by Arthur Adamov. The encounter with Adamov was to be crucial.
The repertoire was more ambitious, too, including Hans Schlumberg's Miracle at Verdun (a favourite of left-wing theatres in France at that time), Lope da Vega's The Sheepwell and Piscator's adaptation of Schweik, for which they used back-projection. Participation in Theatre Union involved a whole programme of education. Though more militant, it resembled Copeau's ideal: not merely a training in movement and voice, but also an education in political thought, dramatic literature, theatre design and technology.