...Joel Schechter Theater in Milan Giorgio Strehler, the director of Milan’s Piccolo Teatro for thirty-three years, never produced a play by Strindberg...

...Jan Kott; Barbara Krzywicka, translated by Theater Abroad Prospera or the Director: Giorgio Strehler's The Tempest (Piccolo Teatro di Milano) Jan Kott Right in front of the foot-lights stands "in• "Impossibile," he...

... with Giorgio Strehler prior to the set, ingeniously opening up the setting more than so-called “en- his production of the play in Milan. vironmental theater,” because he employs the fundamental struc- Yes, that was the first time abroad that I worked as an unpaid ture of the theater as the theatrical...

... con- Piccolo Teatro.” (This is an ironic reference sulate for the second time last September. * to the famous Milan playhouse run by After the new double-bill does a short tour in Giorgio Strehler, where Fo worked in revues the north of Italy starting at Trieste, Dario is for a brief spell...

... and enjoyment which every situation of struggle, every different space in which we make a Strehler’ is always on about; which Brecht talked about and which theatrical contribution, requires a complete re-thinking of techniques Strehler has picked up in a rather exasperated way and turned...

...: The Privilege of Revolt“ (Essay), Vol. Notes on Nestroy’s Political Satire” (Essay), Vol. 12, no. 2, Spring 1981, 12, no. 2, Spring 1981, p. 28. “Theater in New York: Who’s Afraid of p. 72. “Theater in Milan: Strehler Directs The Storm” (Review), Vol. 12, Vladimir Nabokov?: Edward Albee’s Lolikz...

... Management at the RSC Warehouse, London: 92 An Interview with Walter Donohue,” Vol. 10, no. 1, Fall 1978, p. 45 “Theater Abroad: Prosper0 or the Director: Giorgio Strehler’s...

... significant Western directors of his time—Peter Brook, Giorgio Strehler, Ariane Mnouchkine—and a legion of lesser- known directors worldwide who felt inspired by his interpretation of Shakespeare and ancient tragedy. Kott’s unprecedented, sweeping influence on theatrical practice is truly startling...

... Strehler, and Ariane Mnouchkine—the most impor- tant European directors of the time—it anticipated the hopeless Shakespeare inter- pretations by Heiner Müller. Apart from this, Kott’s classic work has become fatefully referenced, as in the 1999 German-language production of Luk Perceval’s English...

... European theaters established by Giorgio Strehler. The most Russian of today’s Russian directors, Vasiliev is also the most Euro- pean. Russia has discovered only recently something that Westerners know all too well: in capitalism the role of the artist as Kulturträger is only a myth; art can...

... European theaters established by Giorgio Strehler. The most Russian of today’s Russian directors, Vasiliev is also the most Euro- pean. Russia has discovered only recently something that Westerners know all too well: in capitalism the role of the artist as Kulturträger is only a myth; art can...

.... Kott’s life and work point up the intellectual paucity of most people in the the- ater. It isn’t scholarship or erudition that is lacking; it is sound and sensitive connec- tions between the written word and the lived lives of the characters Shakespeare put on the stage. When Brook, Giorgio Strehler...

... and ideological competition among (and sur- vivorship of) such Russian titans as Anatoly Efros, Yuri Lyubimov, and Oleg Efremov. When Shevtsova brings Dodin into the twenty-fi rst century, she complicates her argu- ment by trying to place him alongside Giorgio Strehler, Peter Brook, and Pina Bausch...

..., Nemirovich- major task appeared to be editing the actors’ Danchenko, Vakhtangov,Meyerhold, Komisar- choices.” But what’s wrong with that? Senelick jevsky, Saint-Denis, Pitoeff, Tairov, Tovstono- complains that “acting problems” were here gov, Efros, KrejEa, Strehler, Vitez, Brook, given priority...

... of experiencing the flowering of the experimental classics, the touchstone by which all else was theater movement and directors of enormous measured was not Goethe, Schiller, Brecht, or ability and achievement—Grotowski, Brook, any of the other homegrown sacred texts, but Strehler, Mnouchkine, Chereau...

...; the exoticism of near- and far-eastem settings, costumes. Max Reinhardt, Giorgio Strehler, and Benno Besson, among and masks; the principle that on stage anything can happen others, have measured their aptitudes against thefrabe, which - people can swap identities and a place can spring up or lend...

..., attending productions such as Peter Stein’s The Hairy Ape and Giorgio Strehler’s Arlequino. After receiving her M.F.A. at N.Y.U., Ginsberg began to design for the stage and, in 1992, received a TCG grant to apprentice with numerous American directors and designers, including Robert Israel, Martha Clarke...

... 30 years through his writing and his occasional work as dramaturg with Peter Hall, Giorgio Strehler, and other directors. His work has transcended the tra- ditional role of criticism as secondary literature, and his writings have become, rather than merely reflected, a part...

... seem schematic, but the images are that just describes a given time and a given tors. Grotowski doesn’t resemble Strehler, alive and the characters are very different moment. The period of this play is only the Efros doesn’t resemble Brook. Everything I from each other. The roles give...

... Planchon in Lyons, Giorgio Strehler in Milan, Peter Brook wherever he is, Joseph Chaikin and Peter Schumann in New York-the Becks wherever they are. Moreover, I they do not exemplify a range of political direction. There is no Nixon, Wallace, Harold Wilson, or De Gaulle among them...