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| Preface | |
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| Introduction | |
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| The Theatre: Its Elements | |
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| What Is the Theatre? | |
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| The Theatre Building | |
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| The Company, or Troupe, of Players | |
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| The Occupation of Theatre | |
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| WorkArt | |
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| Impersonation | |
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| Performance | |
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| What Is a Play? | |
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| Classifying Plays | |
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| Duration | |
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| Genre | |
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| Structure | |
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| The Components of a Play | |
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| The Order of a Play | |
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| The Past | |
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| The Greeks | |
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| The Greek Theatre | |
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| The Greek Plays | |
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| The Three Greek Tragedians | |
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| The Roman Theatre | |
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| The Middle Ages | |
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| The Quem Queritis: From Trope to DramaOut of the Church | |
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| The Corpus Christi Plays at York | |
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| The Shakespearean Era | |
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| The Renaissance | |
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| Shakespeare | |
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| The Theatres | |
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| The Players | |
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| The Plays | |
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| The Plays of Shakespeare | |
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| Italy: The Commedia Dell''Arte | |
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| The Theatre of Asia | |
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| Theatre in Asia | |
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| The Drama of India | |
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| Sanskrit Dance--Theatre | |
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| Kathakali | |
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| Chinese Opera: Xiqu | |
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| Xiqu''s Origins | |
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| Staging of Xiqu | |
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| The Drama of Japan | |
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| No | |
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| Kabuki | |
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| The Royal Theatre | |
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| A Theatre for Courts and Kings | |
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| The Audiences | |
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| The Dramaturgy | |
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| Staging Practices | |
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| The French Theatre | |
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| The Royal Court and the Tennis Court | |
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| The Public Theatre Audience | |
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| Moliere | |
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| England: The Restoration Theatre | |
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| The Present | |
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| The Modern Theatre: Realism | |
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| Realism | |
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| A Laboratory | |
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| Pioneers of Realism | |
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| Naturalism | |
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| Anton Chekhov | |
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| American Realism | |
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| The Modern Theatre: Antirealism | |
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| The Symbolist Beginnings | |
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| The Era of "Isms" | |
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| The Era of Stylization | |
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| Early Isms and Stylizations: A Sampling of Six Plays | |
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| The French Avant-Garde | |
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| Intellectual Comedy: Man and Superman | |
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| Expressionism: The Hairy Ape | |
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| Theatricalism: Six Characters in Search of an Author | |
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| Theatre of Cruelty: Jet of Blood | |
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| Philosophical Melodrama: No Exit | |
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| Postwar Absurdity and Alienation | |
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| Theatre of the Absurd | |
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| Theatre of Alienation | |
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| Future Directions in Antirealistic Theatre | |
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| The Musical Theatre | |
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| The Development of the Broadway Musical: America''s Contribution | |
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| The First Phase of the Golden Age: Musical Comedy | |
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| The Second Phase of the Golden Age: Musical Drama | |
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| The Contemporary Musical | |
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| The Emergence of Choreographer-Directors | |
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| European Musicals | |
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| Mel Brooks The Producers | |
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| Directions in the Modern Musical | |
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| Theatre Today: What, Who, and Where? | |
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| What''s Happening? | |
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| The Modern and the Postmodern | |
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| The Directions of Today''s Theatre | |
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| A Theatre of Postmodern Experimenta Nonlinear Theatre | |
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| A Theatre of the Senses | |
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| An Open Theatre | |
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| A Theatre of Ethnic Diversity | |
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| A Theatre of Difference | |
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| A Theatre of Nontraditional Casting | |
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| A Dangerous Theatre | |
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| A Theatre of Revival | |
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| Who''s Doing Today''s Theatre? | |
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| Robiert Wilson, Michael Counts, and Performance Art | |
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| Dance Theatre and Dance Play | |
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| Stomp, Blue Man Group, De La Guarda: Movement Art | |
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| Solo Performance | |
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| Two American Directors | |
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| Four European Directors | |
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| Theatre of Today: Where Can You Find It? | |
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| BroadwayOff-Broadway and Off-Off-Broadway | |
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| The Nonprofit Professional Theatre | |
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| Shakespeare Festivals | |
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| Summer and Dinner Theatres | |
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| Amateur Theatre: Academic and Community | |
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| International Theatre | |
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| Conclusions on the Current Theatre | |
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| The Practitioners | |
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| The Actor | |
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| What Is Acting? | |
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| The Two Notions of Acting | |
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| Virtuosity | |
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| Magic | |
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| Becoming an Actor | |
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| The Actor''s Instrument | |
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| The Actor''s Approach | |
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| The Actor''s Routine | |
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| The Audition | |
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| The | |
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| The Playwright | |
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| We Are All Playwrights | |
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| The Playwright''s Career | |
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| Literary and Nonliterary Aspects of Playwriting | |
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| Playwriting as Event Writing | |
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| The Qualities of a Fine Play | |
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| Credibility and Intrigue | |
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| Speakability, Stageability, and Flow | |
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| Richness | |
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| Depth of Characterization | |
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| Gravity and Pertinence | |
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| Compression, Economy, and Intensity | |
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| Celebration | |
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| The Playwright''s Process | |
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| Dialogue | |
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| Conflict | |
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| Structure | |
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| The Playwright''s Rewards | |
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| Contemporary American Playwrights | |
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| Mar | |