By Seneca
Even if their topics are borrowed from Greek drama, those exuberant and sometimes macabre performs specialize in motion instead of ethical matters and are strikingly diversified fashionable from Seneca's prose writing. This assortment comprises Phaedra, Oedipus, Thyestes, and The Trojan Women.
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Four Tragedies and Octavia (Penguin Classics)
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I was present in the wonderful creative process. ” Although she contends she does not direct a musical in the same way Bennett did, she notes that by observing him she learned ways of solving problems. Specifically, she learned what questions to ask: “What is the intention of the moment? What is this scene about? How can I transform this moment into something else? ” With this intense education in the professional theatre, it is not surprising that she favors an apprenticeship approach for student-directors to learn how to direct the musical.
And it could not be done in the same way, with its truth, unless it was done in its own time. That’s why revivals of Hair don’t make any sense. Similarly, revivals of West Side don’t make any sense. Because they try to make West Side a contemporary piece. It’s not a contemporary piece, it’s a period piece. It has to be done as it was. ” At the same time, he believes that re-creating a duplicate of the original production is an almost impossible goal because of the new and different personalities of those artists working on the new production.
Bennett and Fosse…were very encouraging. They thought that I had the creativity for it, so they not only inspired me, but they sort of pushed me towards trying it. ’” Graciela Daniele Bennett and Fosse (and Jerome Robbins indirectly with West Side Story ) were extremely influential in her development as a director in the musical theatre. While assisting Bennett, for example, she says, “I had the opportunity and the luck of being in the same room while decisions were being made. I was present in the wonderful creative process.