Analysing the importance of creating a distinctive rehearsal process and innovative final performance in relation to the Director's vision for the play

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http://eprints.org/relation/isVersionOf http://etheses.bham.ac.uk/id/document/21112 http://eprints.org/relation/isVolatileVersionOf http://etheses.bham.ac.uk/id/document/21112 http://eprints.org/relation/isIndexCodesVersionOf http://etheses.bham.ac.uk/id/document/21112 archive 4031 disk0/00/00/35/06 2012-07-05 10:56:33 2019-01-18 11:38:30 2012-07-05 10:56:33 thesis show 0 Walker Sarah Lucy University of Birmingham Analysing the importance of creating a distinctive rehearsal process and innovative final performance in relation to the Director's vision for the play unpub PN2000 10col_artl This thesis explores the relationship that a theatre director has with a play text. This is examined through looking at rehearsal techniques of established directors Peter Brook and Katie Mitchell, and analysing four professional productions; A Midsummer Night’s Dream directed by Peter Brook (1970) and Peter Hall (2010), Romeo and Juliet directed by Rupert Goold (2010) and Juliet and Her Romeo directed by Tom Morris (2010.) Through analysing these Shakespearean productions in relation to the comments from critics on how well each director’s interpretation was received, I will show why the director’s vision is important when re-inventing classical texts. In relation to Brook and Mitchell, this study will show how their individual methods were incorporated into my own rehearsal room environment to create two unique interpretations of the same scenes from William Shakespeare’s A Midsummer Night’s Dream. The overall findings of this practical and written study will show how a distinctive rehearsal process, combined with a new vision or adaptation for the text will create an innovative performance of even the oldest of works. 2012-07 2011-09 graduation eng This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. public 81 University of Birmingham School of English, Drama and American & Canadian Studies m_ph na 2012-07 graduation