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- Benjamin Britten and Montagu Slater's Peter Grimes
Benjamin Britten and Montagu Slater's Peter Grimes
Benjamin Britten and Montagu Slater's Peter Grimes
`Who can turn skies back and begin again?'
-Peter
This book contends that Peter Grimes, widely regarded as one of the greatest and most influential operas of the 20th century, is also one of the British theatre's finest `lost' plays. Seeking to liberate Britten and Slater's work from the blinkered traditions of theatre and opera criticism, Sam Kinchin-Smith poses two questions:
If an opera was created like a play, and can be staged as a play, is it a play?
If a portion of its success and influence is the product of this newly identified theatrical engine, is it then a great play?
The answers involve Wagner and W.G. Sebald, George Crabbe and Complicite, Akenfield and Twin Peaks.
Challenging long-established narratives of post-war theatre history, this book makes a compelling case for why practitioners and scholars of performance ought to pay more attention to Britten and Slater's achievement - a milestone of unconventional English modernism - and perhaps to other operatic masterpieces too.
-Peter
This book contends that Peter Grimes, widely regarded as one of the greatest and most influential operas of the 20th century, is also one of the British theatre's finest `lost' plays. Seeking to liberate Britten and Slater's work from the blinkered traditions of theatre and opera criticism, Sam Kinchin-Smith poses two questions:
If an opera was created like a play, and can be staged as a play, is it a play?
If a portion of its success and influence is the product of this newly identified theatrical engine, is it then a great play?
The answers involve Wagner and W.G. Sebald, George Crabbe and Complicite, Akenfield and Twin Peaks.
Challenging long-established narratives of post-war theatre history, this book makes a compelling case for why practitioners and scholars of performance ought to pay more attention to Britten and Slater's achievement - a milestone of unconventional English modernism - and perhaps to other operatic masterpieces too.
PRP: 134.30 Lei
Acesta este Prețul Recomandat de Producător. Prețul de vânzare al produsului este afișat mai jos.
120.87Lei
120.87Lei
134.30 LeiPrimești 120 puncte
Livrare in 2-4 saptamani
Descrierea produsului
`Who can turn skies back and begin again?'
-Peter
This book contends that Peter Grimes, widely regarded as one of the greatest and most influential operas of the 20th century, is also one of the British theatre's finest `lost' plays. Seeking to liberate Britten and Slater's work from the blinkered traditions of theatre and opera criticism, Sam Kinchin-Smith poses two questions:
If an opera was created like a play, and can be staged as a play, is it a play?
If a portion of its success and influence is the product of this newly identified theatrical engine, is it then a great play?
The answers involve Wagner and W.G. Sebald, George Crabbe and Complicite, Akenfield and Twin Peaks.
Challenging long-established narratives of post-war theatre history, this book makes a compelling case for why practitioners and scholars of performance ought to pay more attention to Britten and Slater's achievement - a milestone of unconventional English modernism - and perhaps to other operatic masterpieces too.
-Peter
This book contends that Peter Grimes, widely regarded as one of the greatest and most influential operas of the 20th century, is also one of the British theatre's finest `lost' plays. Seeking to liberate Britten and Slater's work from the blinkered traditions of theatre and opera criticism, Sam Kinchin-Smith poses two questions:
If an opera was created like a play, and can be staged as a play, is it a play?
If a portion of its success and influence is the product of this newly identified theatrical engine, is it then a great play?
The answers involve Wagner and W.G. Sebald, George Crabbe and Complicite, Akenfield and Twin Peaks.
Challenging long-established narratives of post-war theatre history, this book makes a compelling case for why practitioners and scholars of performance ought to pay more attention to Britten and Slater's achievement - a milestone of unconventional English modernism - and perhaps to other operatic masterpieces too.
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