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In this lavishly illustrated hands-on account of the creation of new theatre spaces spanning a century, Iain Mackintosh offers a compelling history that is part memoir, part impassioned call to rethink the design of our theatre spaces and the future of live theatre. As the originator of theatre designs as diverse as the Cottesloe in 1977, Glyndebourne in 1994, the Orange Tree Theatre in 1991, the Martha Cohen Theatre in 1985 and the Tina Packer Playhouse in 2001, he discovered why the same show worked in some theatres but not in others. It is this unique blend of experience that informs…mehr
In this lavishly illustrated hands-on account of the creation of new theatre spaces spanning a century, Iain Mackintosh offers a compelling history that is part memoir, part impassioned call to rethink the design of our theatre spaces and the future of live theatre. As the originator of theatre designs as diverse as the Cottesloe in 1977, Glyndebourne in 1994, the Orange Tree Theatre in 1991, the Martha Cohen Theatre in 1985 and the Tina Packer Playhouse in 2001, he discovered why the same show worked in some theatres but not in others.
It is this unique blend of experience that informs this account of many of the best-known theatre spaces in Britain, besides many international examples including the Guthrie Theater, Minneapolis and the Oslo Opera House. Running throughout is a consideration of factors which have shaped design thinking during this time and which demand attention today. After the long theatre closures driven by the Covid-19 pandemic, Mackintosh argues that now is the time to discover the routes travelled over the last century.
Published in partnership with the Society of Theatre Research, the book features a foreword by Sir Richard Eyre, Director of the National Theatre, 1987-1997.
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Autorenporträt
Iain Mackintosh co-founded the Prospect Theatre Company in 1961, taking 75 productions to over a hundred theatres around the world. He then became a designer of theatre spaces in many countries with Theatre Projects Consultants and has been invited as a guest speaker to conferences across five continents. In 1973 he conceived the design of the National Theatre's Cottesloe space, which opened in 1977. Other spaces which he conceived include Martha Cohen, Calgary, Canada (1985), Orange Tree, UK (1991), Glyndebourne, UK (1994), Lawrence Batley, Huddersfield, UK (1994), The Quays at the The Lowry, Salford, UK (2000), Tina Packer Playhouse, Lenox Massachusetts, USA (2001) and Hall Two of The Sage Gateshead, UK (2004). Renovations in which he was closely involved include de Magd Bergen-op-zoom the Netherlands, Dunfermline Opera House transported to Sarasota Florida, Festival Theatre Edinburgh and Royal Court London, UK. He was the first Briton to serve on the jury of the Prague Quadrennial of Scenography and Theatre Architecture in 1995.
Inhaltsangabe
List of Illustrations Foreword by Richard Eyre An Introduction and a Summary Act 1 Pre-1920: Setting the Scene and Some Early Pioneers Chapter One: Theatre is Ephemeral While Buildings Endure. Some Necessary Background Chapter Two: Richard Wagner, Adolphe Appia and the Spreading of the Fan Act II 1920 Chapter Three: The Festival Cambridge, Stratford-upon-Avon and Early Days of the National Chapter Four: Guthrie's Thrust Stages Chapter Five: Germany's Building Boom and Anglo-American Shakespeare Chapter Six: The Olivier, the Lyttelton and the Barbican Theatres Act III 1976-2020: The Past Informs the Present Chapter Seven: The Cottesloe and Other Courtyards Chapter Eight: Worthy Scaffolds: Brook's Empty Space and Spaces Found by Others Chapter Nine: Regenerating the Old Offers an Antidote to Modernism. Part One: English Theatres of the Eighteenth and Nineteenth Centuries Chapter Ten: Regenerating the old offers an antidote to modernism. Part Two: A Couple of Twentieth-century Scottish Theatres Reborn - One in Edinburgh and the Other in Florida Chapter Eleven: New Opera Houses from Glyndebourne to Dallas. Elsewhere Some Starchitects Upstage the Performers Chapter Twelve: Learning from the Netherlands, Berlin, Brazil, Australia, Indian and Chinese Cultures. The Threat of Internationalism Chapter Thirteen: 2010-2020: Some New Builds, Two Renovations - One at Stratford-upon-Avon and One in London - And Diversions on In-the-round and the Open Air Act IV 2021: The Future Chapter Fourteen: Unforeseen Consequences of Seventeenth-century Plagues, of the Arrival of the Talkies and the More Recent Dangers of the Pandemic and of 'Virtual Theatre'. Some Central Themes Restated References Further Reading Acknowledgements Theatre Index Person Index
List of Illustrations Foreword by Richard Eyre An Introduction and a Summary Act 1 Pre-1920: Setting the Scene and Some Early Pioneers Chapter One: Theatre is Ephemeral While Buildings Endure. Some Necessary Background Chapter Two: Richard Wagner, Adolphe Appia and the Spreading of the Fan Act II 1920 Chapter Three: The Festival Cambridge, Stratford-upon-Avon and Early Days of the National Chapter Four: Guthrie's Thrust Stages Chapter Five: Germany's Building Boom and Anglo-American Shakespeare Chapter Six: The Olivier, the Lyttelton and the Barbican Theatres Act III 1976-2020: The Past Informs the Present Chapter Seven: The Cottesloe and Other Courtyards Chapter Eight: Worthy Scaffolds: Brook's Empty Space and Spaces Found by Others Chapter Nine: Regenerating the Old Offers an Antidote to Modernism. Part One: English Theatres of the Eighteenth and Nineteenth Centuries Chapter Ten: Regenerating the old offers an antidote to modernism. Part Two: A Couple of Twentieth-century Scottish Theatres Reborn - One in Edinburgh and the Other in Florida Chapter Eleven: New Opera Houses from Glyndebourne to Dallas. Elsewhere Some Starchitects Upstage the Performers Chapter Twelve: Learning from the Netherlands, Berlin, Brazil, Australia, Indian and Chinese Cultures. The Threat of Internationalism Chapter Thirteen: 2010-2020: Some New Builds, Two Renovations - One at Stratford-upon-Avon and One in London - And Diversions on In-the-round and the Open Air Act IV 2021: The Future Chapter Fourteen: Unforeseen Consequences of Seventeenth-century Plagues, of the Arrival of the Talkies and the More Recent Dangers of the Pandemic and of 'Virtual Theatre'. Some Central Themes Restated References Further Reading Acknowledgements Theatre Index Person Index
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