The Great European Stage Directors Set ― Pre-1950

The Great Stage Directors Set I offers an an authoritative account of the work, lineage and legacy of the major theatre directors from the late nineteenth and first half of the twentieth centuries. Across the four volumes and the companion series Set II: European Post-1950, it provides a uniquely rich study of the genealogy and development of a practice through focus on individual directors and the wider context and artform in which they worked. For professional practitioners and those developing their skills, as well as those engaged in the analysis of theatre practices, forms and history, it will prove an essential resource.

Each volume provides substantial treatment of three major directors, with each director considered by two specialists, combining analysis of the director’s practical craft with accounts of the historical, cultural and theoretical context of their practice. Links between the featured directors and other artists and directors from the period are traced to round out the picture of influences and artistic development.

Volume 1: Stanislavski, Antoine and Saint Denis (edited by Professor Peta Tait, La Trobe University, Melbourne, Australia): the engagement with ‘realism’

Volume 2: Meyerhold, Piscator, Brecht (edited by Dr David Barnett, University of Sussex, UK): theatre as a mechanism of political enactment and critique, with the experiments in acting practice, scenic arrangements and audience address

Volume 3: Copeau, Komisarjevsky, Guthrie (edited by Professor Simon Shepherd, Central School of Speech and Drama, London, UK): experiments in modes of working and staging

Volume 4: Reinhardt, Granville Barker, Jessner (edited by Professor Peter W. Marx, University of Cologne, Germany): the engagement with aesthetic modernism as part of a set of formal languages, leading to new approaches to the expressive apparatus

Simon Shepherd is Emeritus Professor of Theatre at the Royal Central School of Speech and Drama, London, UK. He conceived and edits Palgrave’s Readings in Theatre Practice series, for which his volume Directionappeared in 2012. Among his other titles are The Cambridge Introduction to Modern British Theatre, Drama/Theatre/Performance (with Mick Wallis), and Studying Plays (with Mick Wallis, Bloomsbury, 2010).

Professor Peta Tait (La Trobe University, Melbourne, Australia) is an academic scholar and playwright with an extensive background in theatre, dramatic literature, performance theory and creative arts practice. She has authored four scholarly books, and edited and co-edited three further books, with sixty other publications including articles in Theatre Journal, Modern Drama and Performance Research.

David Barnett is Professor of Theatre at the University of York, UK. He is the author of Brecht in Practice(Bloomsbury Methuen Drama, 2014) and A History of the Berliner Ensemble (2015), and editor of Bertolt Brecht's Berliner Ensemble Adaptations (Bloomsbury Methuen Drama, 2014).

Jonathan Pitches is Professor of Theatre and Performance at the University of Leeds, UK. He is the author of The Russians in Britain: British Theatre and the Influence of the Russian Tradition of Acting (2012), Performance Perspectives: A Critical Introduction (2011), and Stanislavsky in the World (with Dr Stefan Aquilina, Bloomsbury Methuen Drama, 2016).

Michael Patterson is Emeritus Professor at De Montfort University, Leicester, UK. His publications include Strategies of Political Theatre (2006) and German Theatre: A Bibliography from the Beginning to 1995 (1996).