شناخت نظام‌های تئاتر

by Shomit Mitter, عبدالحسین مرتضوی (Translator), میترا علوی‌طلب (Translator)

کتاب نظام های تمرین. در گستره زبان انگلیسی- و لاجرم، زبان فارسی- نخستین کوشش نظام مند در ارزیابی و شناخت نظریه ها و نگره های اجرا محسوب می شود. شومیت متر، در این کتاب، به گونه ای ژرف و ستودنی در پی پر کردن شکاف میان نظریه و عمل، دستاوردهای آکادمیک و تجارب عملی را با بررسی و تدقیق در سه سرمشق و پارادیم اصلی تئاتر امروز- استانیسلاوسکی، برشت و گروتفسکی- به کار می گیرد. او، در این راه، به ارزیابی دین پیتر بروک به این سه کارگردان و نظریه پرداز بزرگ و سنجش نسبت میان آنها می پردازد
نتیجه، آن که این کتاب، مقدمه ای بسیار روشنگر بر تئاتر مدرن، در دسترس دانشجویان و کوشندگان تئاتر قرار می دهد

Genres: Theatre

296 pages, Paperback

First published November 19, 1992

Reviews

[Gracesoup]

Really enjoyed this actually

[Benni Zev · Rating 4 out of 5]

An incredibly comprehensive and magnificently researched study of Peter Brook's work that not only gives a clear, thorough understanding of Brook, but also the three practitioners he is compared to and the state of theatre on a larger scale. The way the book is structured makes for excellent understanding, we are initially given context and aims of the practitioners, followed by their rehearsal practices, and the growth and development they all went through over time. I found myself particularly engaged with the chapter on Stanislavsky (as I have read a bit surrounding him), which enhanced the connection that Brook shares with him. I mention this because I believe with a better understanding of Brecht and (especially) Grotowski, I could return to this book with a much clearer and deeper understanding of its contents. That being said, it is still accessible and very educational about theatre directors I wouldn't have known much about previously. It really is a fantastic achievement of a book and a wonderfully exciting read that encourages and inspires.

[Nicolas Lamy · Rating 3 out of 5]

Although at times difficult to access linguistically, this book is a thorough exploration of the processes of some of the most influential theatre practitioners to date. It brings to the forefront the important fact that processes of this nature are long, arduous tasks: but may be, in some ways, deeply connected to each other (despite their differences). The threads that can be pulled to the theatre we see today are evident: and it is an insightful read for those looking to find out how those before us managed to do it.