Sergei Tretyakov is one of those artists and intellectuals from the first half of the twentieth century whose name is known, but whose achievements are barely recognized. He seems curiously elusive. Who exactly was he? What did he do? A victim of Stalin’s Great Terror, declared an ‘enemy of the people’, his works were ‘disappeared’ and his name forbidden to be mentioned.

But he was at the very heart of avant-garde modernism. He collaborated with Sergei Eisenstein both in the theatre...

Verder Mag Alles beschrijft de werkwijze die Yolande Bertsch voor ensemble-improviseren heeft ontwikkeld. Die ontwikkeling is in 1968 begonnen met haar verblijf bij Grotowski's Theater Laboratorium in Polen. Terug in Nederland richtte ze samen met anderen Het Werktheater op. Ze ging lesgeven aan diverse toneelopleidingen. Haar bijzondere aanpak en filosofie kregen daar de verrassende vorm die ze al ruim 20 jaar als speldocente hanteerde.

Sinds zijn succesvolle langspeelfilmdebuut Abel (1986) kenmerken de films van Alex van Warmerdam zich door herkenbare locaties, een precieze, aan Kuifje ontleende stijl en compacte dialogen.

Desondanks is zijn filmoeuvre lastig te peilen, omdat zijn werk steeds de scheidslijn

tussen ‘normaal’ en ‘abnormaal’ aftast, tussen tragedie en komedie schippert en op genreconventies

varieert (sprookje, western, sciencefiction, huisvredebreukthriller).

Deze studie biedt analyses van de tien f...

Reframing Luchino Visconti: Film and Art gives new and unique insights into the roots of the visual vocabulary of one of Italy's most reputed film authors. It meticulously researches Visconti's appropriation of European art in his set and costume design, from pictorial citations and the archaeology of the set to the use of portraits and pictorial references in costume design. Yet it also investigates Visconti's cinematography in combination with his mise-en-scène in terms of staging, framing...

Van Hoevelaken tot Hollywood

Na "Schiet mij maar lek", een bundel met zijn meest hilarische sportreportages, is er nu "Het is maar theater", een verzameling vergelijkbare verhalen van Michiel Blijboom op showbizz-gebied.

Zo gaat het in dit nieuwe boek over schnabbelen met variété-veteranen als Clown Bassie, Vader Abraham, Lee Towers en Arie Ribbens. De schrijver was op de verjaardag van de schoonmoeder van Jan Smit en op de bruiloft van Dries Roelvink. Blijboom dineerde met Herman den Blijk...

Newly adapted for the Anglophone reader, this is an excellent translation of Hans-Thies Lehmann’s groundbreaking study of the new theatre forms that have developed since the late 1960s, which has become a key reference point in international discussions of contemporary theatre. In looking at the developments since the late 1960s, Lehmann considers them in relation to dramatic theory and theatre history, as an inventive response to the emergence of new technologies, and as an historical...

Nothing happens, nobody comes, nobody goes, it's awful.' This line from the play was adopted by Jean Anouilh to characterize the first production of Waiting for Godot at the Théâtre de Babylone in 1953. He went on to predict that the play would, in time, represent the most important premiere to be staged in Paris for forty years.

With storytelling and collaboration as core principles, industry insiders Adam Leipzig (former President of National Geographic Films), and Barry Weiss (former head of animation at Sony Pictures), with Michael Goldman (prominent journalist and industry expert), guide students through the skills and the craft of video and filmmaking.