Round plays in square theatres
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Round plays in square theatres book
What I have to say about the production of Greek tragedy is applicable generally, but the problem is particularly well defined because the theatre of the golden age in Athens was a playwright’s theatre. There was no intermediary, no independent director. Things changed, and during the following centuries the stage was dominated by the virtuoso actor, rather as the nineteenth-century English theatre was ruled by the great actor-managers. Things have changed again, and we are now so accustomed to a director’s theatre that it is hard to imagine anything else. It is the director who controls the text and the actors and shapes the whole production (and sometimes even usurps the title-‘Brook’s Dream, Zeffirelli’s Romeo, Miller’s…’). Within
this director’s world the answer to my question ‘authenticity or freedom?’ is brief and almost unanimous: freedom. The director is expected to use his inventiveness to reinterpret his play and to make it his own by any means at his disposal. He may make passing gestures in the direction of authenticity, but this is not a consistent policy; it is simply one directorial device among many.