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Systems of Rehearsal: Stanislavsky, Brecht, Grotowski and Peter Brook (Paperback)

by Shomit Mitter (Author) "On 5 September 1869, the six-year-old Konstantin Alexeyev ('Stanislavsky' was a stage name) made his first stage appearance as Winter in a tableau vivant depicting..." (more)

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This item: Systems of Rehearsal: Stanislavsky, Brecht, Grotowski and Peter Brook by Shomit Mitter
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The Director and the Stage: From Naturalism to Grotowski (Performance Books) by Edward Braun
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Product details

Paperback: 192 pages
Publisher: Routledge; 1 edition (19 Nov 1992)
Language English
ISBN-10: 0415067847
ISBN-13: 978-0415067843
Product Dimensions: 21.2 x 13.8 x 1.6 cm

Average Customer Review: 2.0 out of 5 stars See all reviews (2 customer reviews)

Amazon.co.uk Sales Rank: 258,952 in Books (See Bestsellers in Books)

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Product Description

Review
'Mitter displays a keen theatrical intelligence, handling an impressive range of material with confidence and insight. ... The result is a work that not only adds to our understanding of Brook but also yields fresh insights into the collaborative process of actors and directors in general ... A significant contribution to the increasingly sophisticated debate about the methodology of theatre practice.' - Professor Edward Braun

Product Description
Compares Peter Brook's rehearsal techniques with those developed by Stanislavsky, Grotowski and Brecht. The result is an invaluable introduction to modern theatre practice.

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Inside This Book (Learn More)

First Sentence
On 5 September 1869, the six-year-old Konstantin Alexeyev ('Stanislavsky' was a stage name) made his first stage appearance as Winter in a tableau vivant depicting the four seasons. Read the first page

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Front Cover | Copyright | Table of Contents | Excerpt | Index

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Customer Reviews

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2.0 out of 5 stars (2 customer reviews)

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15 of 16 people found the following review helpful:

3.0 out of 5 stars You gotta be serious, 21 Oct 2004

By	"le_hibou_lointain" - See all my reviews

This book is a work of considerable scholarship. In each chapter, Mitter considers the work of one of the three great theatre theoreticians in their own right, then goes on to discuss their influence on Brook. I found in this book a valuable commentary on the contradictions within Stanislavski's work, and the shift in his thought throughout his career. It is not the place to look for an introduction to these directors.

In turning to Brook, Mitter draws on personal experience of Brook's direction, the rehearsal diaries of Brook's work, and other studies. In addition to bringing us a glimpse of hard-to-find material, Mitter interprets to us Brook's thinking. To Mitter, Brook is the ultimate synthesizer of these classic directoral styles. Admiration for Brooks achievement, overcomes the academic desire for purity of style.

Despite the claim on the back cover that it "bridges the gap between theory and practice", this remains a highly theoretical book by the standards of "students and practitioners". Mitter gives us tantalising glimpses of the rehearsal techniques, but it's far from being a practitioner's guide.

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6 of 8 people found the following review helpful:

1.0 out of 5 stars Systems of rehearsal, 30 Oct 2005

By	Alan Orpin (Hamburg Germany) - See all my reviews (REAL NAME)

Joyless, unintelligible, pompous, pointless. Mr Mitter has clearly forgotten what part the theatre plays in society. Either that, or he never knew in the first place. Given that the title suggests new insights into thhe business of rehearsal, I defy any reader to a) explain what any part of the book actually meant and b) declare that they were empowered by reading it. Narcississtic tripe. The worst book I've ever read about anything at any time in my life.

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