Bryan Brown – författare

The term ‘theatre laboratory’ has entered the regular lexicon of theatre artists, producers, scholars and critics alike, yet use of the term is far from unified, often operating as an catch-all for a web of intertwining practices, territories, pedagogies and ideologies. Russian theatre, however, has seen a clear emergence of laboratory practice that can be divided into two distinct organisational structures: the studio and the masterskaya (artisanal guild).

By assessing these structures, Bryan Brown offers two archetypes of group organisation that can be applied across the arts and sciences, and reveals a complex history of the laboratory’s characteristics and functions that support the term’s use in theatre.

This book’s discursive, historical approach has been informed substantially by contemporary practice, through interviews with and examinations of practitioners including Slava Polunin, Anatoli Vassiliev, Sergei Zhenovach and Dmitry Krymov.

The term ‘theatre laboratory’ has entered the regular lexicon of theatre artists, producers, scholars and critics alike, yet use of the term is far from unified, often operating as an catch-all for a web of intertwining practices, territories, pedagogies and ideologies. Russian theatre, however, has seen a clear emergence of laboratory practice that can be divided into two distinct organisational structures: the studio and the masterskaya (artisanal guild).

By assessing these structures, Bryan Brown offers two archetypes of group organisation that can be applied across the arts and sciences, and reveals a complex history of the laboratory’s characteristics and functions that support the term’s use in theatre.

This book’s discursive, historical approach has been informed substantially by contemporary practice, through interviews with and examinations of practitioners including Slava Polunin, Anatoli Vassiliev, Sergei Zhenovach and Dmitry Krymov.

Henry Taunt was one of the great photographers of the nineteenth and early twentieth centuries. He was a master of the camera and possessed of a profoundly creative sense of scene and composition.

First published in 1973, this collection of Henry Taunt’s finest work includes artistic prints as well as images which are of importance to architectural and social historians. Sympathetically introduced and captioned by Bryan Brown, this book is a striking visual essay on the Victorian and Edwardian eras and a magnificent record of places and their past.

Henry Taunt was one of the great photographers of the nineteenth and early twentieth centuries. He was a master of the camera and possessed of a profoundly creative sense of scene and composition.

First published in 1973, this collection of Henry Taunt’s finest work includes artistic prints as well as images which are of importance to architectural and social historians. Sympathetically introduced and captioned by Bryan Brown, this book is a striking visual essay on the Victorian and Edwardian eras and a magnificent record of places and their past.