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| Brief Table of Contents | |
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| Full Table of Contents | |
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| Brief Table of Contents | |
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| Introduction: The Theatre of Many Times and Places | |
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| Greek Theatre | |
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| Roman Theatre 240 BCE - 550 CE | |
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| Early Theatre of Asia 200 BCE - 1800 CE | |
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| The European Middle Ages | |
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| The Italian Renaissance | |
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| The Golden Ages of England and Spain | |
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| Neoclassicism: Triumph and Decline in France and England | |
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| Melodrama and The Rise of Commercialism 1750 - 1900 | |
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| Romanticism and Realism 1750 - 1900 | |
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| Theatre in Africa | |
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| Reactions to Commercialism and Realism 1900-1950 | |
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| Musical Theatre | |
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| Eclecticism: U.S. Theatre from 1950 | |
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| European Theatre after 1950 | |
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| Theatre in Asia from 1800 | |
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| Globalization of Theatre | |
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| Introduction: The Theatre of Many Times and Places | |
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| The Past in the Present | |
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| Theatre: A Definition | |
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| Language And Its Problems | |
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| Theatre-Like Activities | |
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| Historical Evidence, Emphasis, and Omissions | |
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| Organization | |
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| Greek Theatre | |
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| Objectives | |
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| Context | |
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| Theories of the Origins of Theatre | |
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| Traits of Greek Theatre | |
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| Plays and Playwrights | |
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| Theatre Buildings and Practices | |
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| The Hellenistic Period | |
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| The Shift to Rome | |
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| at a Glance | |
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| Key Terms | |
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| Captions | |
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| The Play's the Thing: Sophocles' Oedipus Rex, 427 BCE | |
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| The Story of the Play | |
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| How We Know: Paintings on Greek Vases | |
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| How We Know: Menander and The Grouch | |
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| Roman Theatre 240 BCE - 550 CE | |
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| Objectives | |
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| Context | |
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| Roman Festivals and Theatre of the Republic | |
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| Tragedy and Comedy, Mostly Comedy | |
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| Three Important Texts | |
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| Theatre Buildings, Scenery, Costumes, and Masks | |
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| Paratheatrical Entertainments | |
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| Christian Opposition to Theatre | |
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| The Breakup of the Empire | |
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| The Eastern (Byzantine) Empire and Theatre | |
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| at a Glance | |
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| Key Terms | |
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| Captions | |
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| The Play's the Thing: Plautus's The Menaechmi | |
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| The Story of the Play | |
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| How We Know: Theatre in an Ordinary Roman Town | |
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| Early Theatre of Asia 200 BCE - 1800 CE | |
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| Objectives | |
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| Context | |
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| India | |
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| China | |
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| Japan | |
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| Summary | |
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| at a Glance | |
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| Key Terms | |
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| Captions | |
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| The Play's the Thing: Shakuntala | |
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| The Story of the Play | |
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| The Play's the Thing: Li Xingdao's Chalk Circle | |
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| The Story of the Play | |
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| How We Know: Shakuntala's First Translation | |
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| The Play's the Thing: The Peony Pavilion | |
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| The Story of the Play | |
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| The European Middle Ages | |
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| Objectives | |
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| Context | |
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| Early Medieval Drama and Theatre: 476 to 1200 | |
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| Production inside the Church | |
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| Later Medieval Culture and Theatre, c. 1200-1550 | |
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| Religious Drama outside the Church | |
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| Staging Religious Plays outside the Church | |
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| Secular Drama | |
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| The End of Medieval Religious Theatre: The Transformation of Medieval Secular Theatre | |
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| Summary | |
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| at a Glance | |
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| Key Terms | |
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| Captions | |
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| How We Know: Bishop Ethelwold's Stage Directions for the Quem Quaeritis Trope | |
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| The Play's the Thing: The Second Shepherds' Play, Anonymous | |
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| The Story of the Play | |
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| How We Know: Pageant Wagons | |
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| The Play's the Thing: Everyman, Anonymous, c. 1490 | |
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| The Story of the Play | |
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| How We Know: Oberammergau Passion Play | |
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| The Italian Renaissance | |
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| Objectives | |
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| Context | |
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| Theory: Neoclassicism | |
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| Practice: Italian Renaissance Drama | |
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| Illusionism | |
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| Renaissance Theatre Structures | |
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| Stage Settings for Illusionistic Theatre | |
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| Contradiction in Mainstream Theatre | |
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| An Alternative Theatre: Commedia dell'Arte | |
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| Italy: Eclipse | |
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| at a Glance | |
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| Key Terms | |
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| Captions | |
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| How We Know: Commedia Scenarios | |
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| Act One, Flavio's Good Fortune | |
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| The Golden Ages of England and Spain | |
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| Objectives | |
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| Context | |
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| England and the Golden Age | |
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| Court Masques and New Conventions: Inigo Jones | |
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| The Closing of English Theatres | |
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| Spain in the Golden Age | |
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| Summary | |
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| at a Glance | |
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| Key Terms | |
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| Captions | |
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| The Play's The Thing: Calderon de la Barca's Life is a Dream, 1635 | |
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| The Story of the Play | |
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| How We Know: The Swan Drawing | |
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| How We Know: Philip Henslowe's Inventory | |
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| How We Know: Three Public Theatres | |
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| Neoclassicism: Triumph and Decline in France and England | |
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| Objectives | |
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| Context | |
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| French Theatre through Its Golden Age | |
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| English Restoration Theatre (1660-c. 1750) | |
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| The Rise of Sentimentalism: 1700-1750 | |
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| at a Glance | |
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| Key Terms | |
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| Captions | |
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| How We Know: A Forgotten Theatre Recovered | |
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| The Play's the Thing: Jean Racine's Ph�dre (Phaedra), 1677 | |
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| The Story of the Play | |
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| The Play's the Thing: Moli�re's Tartuffe, 1669 | |
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| The Story of the Play | |
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| Melodrama and The Rise of Commercialism 1750 - 1900 | |
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| Objectives | |
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| Context | |
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| Theatre Becomes Commercial | |
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| Theatre in Four Countries, circa 1700 to c 1850 | |
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| Commercial Theatre Develops | |
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| Actors, Managers | |
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| From Actor-Managers to Producers | |
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| Drama in the Commercial Theatre | |
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| Melodrama in the Commercial Theatre | |
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| Comedy in the Commercial Theatre | |
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| Reactions to the Commercial Theatre | |
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| at a Glance | |
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| Key Terms | |
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| How We Know: Early Theatre Photography | |
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| Captions | |
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| The Play's the Thing: Augustin Daly's Under the Gaslight, 1867 | |
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| The Story of the Play | |
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| Romanticism and Realism 1750 - 1900 | |
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| Objectives | |
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| Context | |
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| Romanticism in the Theatre | |
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| Romanticism in Germany, England, and France | |
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| Romanticism Dwindles | |
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| An Aftershock: Richard Wagner, a Romantic Artist, Flourishing 1842 to 1882 | |
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| Reform After Romanticism: Realism and Naturalism, from circa 1850 | |
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| Important Leaders of Realism and Naturalism | |
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| Plays and Playwrights of Realism | |
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| Summary | |
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| at a Glance | |
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| Key Terms | |
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| Captions | |
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| The Play's the Thing: Henrik Ibsen's A Doll's House, 1879 | |
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| The Story of the Play | |
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| Theatre in Africa | |
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| Objectives | |
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| Context | |
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| Theatre in Northern Africa | |
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| Theatre in Sub-Saharan Africa | |
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| Summary | |
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| Key Terms | |
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| Captions | |
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| Play's the Thing: Wole Soyinka, Death and the Kings Horseman, 1976 | |
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| Story of the Play | |
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| How We Know: Theatre in Ancient Egypt | |
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| Reactions to Commercialism and Realism 1900-1950 | |
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| Objectives | |
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| Context | |
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| Revolts Against Realism and Commercialism | |
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| Two Influential Theorists Against Commercialism and Realism | |
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| Important US Theatre Groups | |
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| The Art Theatre Movement | |
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| Playwrights, Sometimes Commercial, Sometimes Realistic | |
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| Theatre under Occupation and Totalitarianism | |
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| Commercial Theatre Declines | |
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| Summary | |
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| at a Glance | |
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| Key Terms | |
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| Captions | |
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| The Play's the Thing: Antonin Artaud's Jet of Blood, 1924 | |
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| Story of the Play: Eugene O'Neill's Long Day's Journey into Night, produced 1956 | |
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| The Story of the Play | |
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| Musical Theatre | |
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| Objectives | |
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| Context | |
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| The American Musical Emerges | |
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| Song Forms | |
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| Musicals Since 1950 | |
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| Summary | |
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| at a Glance | |
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| Key Terms | |
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| Captions | |
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| The Play's the Thing: Girl Crazy, 1930 | |
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| The Story of the Musical | |
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| How We Know: Preserving Musicals | |
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| Eclecticism: U.S. Theatre from 1950 | |
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| Objectives | |
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| Context | |
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| Theatre Becomes Eclectic: an Overview | |
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| Professional Theatre | |
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| Plays Since 1950 | |
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| The Political Avant-Garde in Theatre | |
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| The Artistic Avant-Garde in Theatre | |
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| The Avant-garde Fades | |
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| Identity Theatre Emerges | |
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| Absurdism, Performance Art, and Postmodernism | |
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| Theatrical Responses to 9/11 and New Wars | |
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| The Cultural Displacement of Theatre | |
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| The Play's the Thing: Tyler Perry and the Chitlin' Circuit | |
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| How We Know: Theatre on Film and Tape Archive | |
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| Key Terms | |
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| Captions | |
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| The Play's the Thing: August Wilson's Century of African American Life | |
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| The Play's the Thing: Tennessee Williams's A Streetcar Named Desire, 1947 | |
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| The Story of the Play | |
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| The Play's the Thing: Paula Vogel's The Baltimore Waltz, 1992 | |
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| The Story of the Play | |
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| European Theatre after 1950 | |
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| Objectives | |
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| Context | |
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| Germany | |
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| Great Britian | |
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| France | |
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| Italy | |
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| Poland | |
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| European Theatre After World War II Had Wide Impact | |
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| Summary | |
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| Key Terms | |
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| Captions | |
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| The Play's the Thing: Caryl Churchill's Top Girls, 1982 | |
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| The Story of the Play | |
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| Theatre in Asia from 1800 | |
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| Objectives | |
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| Context | |
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| India | |
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| Chinese Theater after 1790 | |
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| Later Japanese Theatre | |
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| Summary | |
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| Key Terms | |
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| Captions | |
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| The Play's the Thing: Tragore's The Post Office, 1924 | |
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| Globalization of Theatre | |
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| Objectives | |
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| Context | |
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| Musicals in Asia | |
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| Other International Musical Successes | |
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| Techniques and Styles | |
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| Non-European Theatre in Western Countries | |
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| Global Shakespeare | |
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| Belarus Free Theatre | |
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| Is Globalization Theatre's Destiny? | |
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| Summary | |
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| Key Terms | |
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| Captions | |