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Book Details
Abstract
This book offers a rich analysis of collage practices in the theatre of Vsevolod Meyerhold. Focusing on the philosophical and formal tenets of the form, and supporting her analysis with wide-ranging examples from both theatre and fine art, Amy Skinner develops collage as a framework for reading the whole of the theatrical experience, from scenography and mise-en-scène to text and spectatorship. An innovative exploration of the influence of collage on twentieth- and twenty-first-century theatre, Meyerhold and the Cubists will be essential reading for theatre scholars and practitioners alike.
Table of Contents
| Section Title | Page | Action | Price |
|---|---|---|---|
| Cover | Cover | ||
| Half Title | i | ||
| Title | iii | ||
| Quote | v | ||
| Copyright | vi | ||
| Contents | vii | ||
| Acknowledgements | ix | ||
| List of figures | xi | ||
| Re-reading Meyerhold, part one | 1 | ||
| Chapter 1: Setting the scene | 17 | ||
| Chapter 2: Depth | 41 | ||
| Chapter 3: Figure | 63 | ||
| Chapter 4: Collage | 81 | ||
| Chapter 5: Spectatorship | 117 | ||
| Chapter 6: Documentation | 141 | ||
| Re-reading Meyerhold, part two | 165 | ||
| Appendix: Russian art and Meyerhold’s theatre: A timeline | 171 | ||
| Endnotes | 185 | ||
| Bibliography | 195 | ||
| Index | 209 | ||
| Back Cover | Back Cover |