By Mark Leipacher

Sam Mendes and Simon Russell Beale have solid the most winning operating partnerships in modern theatre background. throughout two decades and 8 productions their collaboration has advanced, matured and retains thriving via their paintings on degree; six Shakespeare and Chekhov performs shape their universal physique of labor so far.

Mark Leipacher's correspondence with Mendes and Beale and his thorough learn into archival fabric on their collaborations, bargains the reader a close account of the productions and, uniquely, Mendes' and Beale's personal observations on their approach to paintings and at the discoveries they made in all the performs. How do moments of magic on degree come up within the practice session room? Catching the sunshine, choked with anecdotes and gemstones of information, is an fundamental learn for actors, administrators, scholars and someone who loves the theatre.

Features a foreword from Kevin Spacey, creative Director of the previous Vic.

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Additional resources for Catching the Light: Sam Mendes and Simon Russell Beale - A Working Partnership

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Discipline was to be strict, both for the cast – no talking in the corridors during a performance – and for the audience. No one was to be allowed back-stage during the performance and spectators were to be encouraged to take their seats before the curtain went up. With the passage of time late-comers were made to wait until the interval before being admitted. The orchestra, which was a regular feature in most theatres, was abolished as an unnecessary distraction. When the original theatre was built, the auditorium was stripped of all decoration so that the audience’s full concentration could be directed towards the stage.

If at times we are Naturalistic in our stage work, it only shows that we don’t yet know enough to be able to penetrate into the historical and social essence of events and characters. We do not know how to separate the main from the secondary, and thus we bury the idea with details of the mode of life. * Speaking to Nikolai M. Gorchakov, then a young director in 1926, he said: * SD p. 143. 18 Foundations I want you to remember this fundamental theatrical rule: establish truly and precisely details that are typical and the audience will have a sense of the whole, because of their special ability to imagine and complete in imagination what you have suggested.

And so he must genuinely feel that truth, look for it and for that he must develop his artistic awareness of truth. But he will be told: * SS Vol. 1, p. 301. The Growth of the ‘System’ ‘Rubbish! What kind of truth do you call this, when everything on stage is a lie, a fake – the set, cardboard, colours, make-up, costume, props, wooden goblets and swords etc. ’ But I am talking about another kind of truth, the truth of my feelings and sensations, the truth of the inner creative urge that is desperate to find expression.

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