Alchemists of the Stage

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A01=Mirella Schino
actor training methods
alchemists
Author_Mirella Schino
avant-garde theatre
body language
Category=ATD
Clive Barker
De Marinis
Decroux
embodied practice
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=1
eq_isMigrated=2
eq_nobargain
eq_non-fiction
Eugenio Barba
Europe
European alchemists
European stages
Experimental Theatre Wing
Fabrizio Cruciani
Grotowski's Performances
Grotowski’s Performances
ISTA Session
Jerzy Grotowski
Konstantin Stanislavski
Laboratory dimension
laboratory theatre methodologies
Les Copiaus
Ludwik Flaszen
Marianne Ahrne
Moscow Art Theatre
non-religious abode
Nordisk Teaterlaboratorium
Odin Teatret
Opera-Dramatic Studio
performance studies
physical theatre research
Political nature
Psycho Linguist
rehearsal process analysis
Rena Mirecka
Roberta Carreri
Stary Teatr
Studios and Workshops
Teatr Laboratorium
Teddy Bear
theatre laboratories
Theatre Laboratory
Theatre Specific Problem
Torgeir Wethal
Twentieth century European theatre
Vice Versa
Vsevolod Meyerhold
Young Man

Product details

  • ISBN 9781138456976
  • Weight: 453g
  • Dimensions: 156 x 234mm
  • Publication Date: 13 Sep 2023
  • Publisher: Taylor & Francis Ltd
  • Publication City/Country: GB
  • Product Form: Hardback
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What is a theatre laboratory? Why a theatre laboratory?
This book tries to answer these questions focusing on the experiences and theories, the visions and the techniques, the differences and similarities of European theatre laboratories in the twentieth century. It studies in depth the Studios of Stanislavski and Meyerhold, the school of Decroux, the Teatr Laboratorium of Jerzy Grotowski and Ludwik Flaszen, as well as Eugenio Barba‘s Odin Teatret.
Theatre laboratories embody a theatre practice which defies the demands and fashions of the times, the usual ways of production and the sensible functions which stage art enjoys in our society. It is a theatre which refuses to be only art and whose radical research forges new conditions with a view to changing both the actor and the spectator. This research transforms theatrical craft into a laboratory which has been compared to the laboratory of the alchemists, who worked not on material but on substance. The alchemists of the stage did not operate only on forms and styles, but mainly on the living matter of the theatre: the actor, seen not just as an artist but above all as a representative of a new human being.
Laboratory theatres have rarely been at the centre of the news. Yet their underground activity has influenced theatre history. Without them, the same idea of theatre, as it has been shaped in the course of the twentieth century, would have been different. In this book Mirella Schino recounts, as in a novel, the vicissitudes of a group of practitioners and scholars who try to uncover the technical, political and spiritual perspectives behind the word laboratory when applied to the theatre.

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