Twentieth Century Theatre

ISBN-10: 0415096200
ISBN-13: 9780415096201
Edition: 1995
Authors: Richard Drain
List price: $47.95 Buy it from $22.28
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Description: Richard Drain gathers together a wide-ranging selection of original writings on theatre this century. Ideal for students, it will also be of interest to anyone involved with the theatre.

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Book details

List price: $47.95
Copyright year: 1995
Publisher: Routledge
Publication date: 12/4/1995
Binding: Paperback
Pages: 408
Size: 6.25" wide x 9.25" long x 1.00" tall
Weight: 1.386

Richard Drain gathers together a wide-ranging selection of original writings on theatre this century. Ideal for students, it will also be of interest to anyone involved with the theatre.

Preface
Prologue
From The Free Theatre (1890)
From Of the Uselessness to Theatre of the Theatre (1896)p. 11
From A New Art-Material (c. 1902)p. 14
From How to Reform Our Staging Practices (1904)p. 15
From Rearrangements (1915)p. 17
From The Futurist Synthetic Theatre (1915)p. 19
From Futurist Scenography (1915)p. 23
Speech from The First Celestial Adventure of Mr Antipyrine (1916)p. 25
The Secret of the Handkerchief of Clouds (1925)p. 26
From Prologue to The Breasts of Tiresias (1917)p. 28
The Task of Drama (1920)p. 31
From I am a Witch (1950)p. 33
From On a New Type of Play (1920)p. 35
Preface to Methusalem or The Eternal Bourgeois (1922)p. 38
From The Painter on the Stage Progresses Towards Architecture (1922)p. 40
From On the Pure Elements of the Actor's Art (1923)p. 42
From New Stage Forms (1928)p. 46
The Oberiu Theatre (1928)p. 48
From Plays (1935)p. 51
Notes on the Theatre (1953)p. 53
From Events (1966)p. 56
From Speech Introducing Freud (1969)p. 59
From Impossible Theatre (1972)p. 63
From Elementary School of Theatre (1986)p. 65
From Unbalancing Acts (1992)p. 68
From Preface to Mrs Warren's Profession (1902)p. 83
From A Personal Statement (1926)p. 87
From The Montage of Attractions (1923)p. 88
From The Montage of Film Attractions: The Model Actor (1924)p. 91
From Post-war German Drama (1928)p. 95
From The Reconstruction of the Theatre (1929)p. 98
From Basic Principles of a Theory of Sociological Drama (1929)p. 102
From The Documentary Play (1929)p. 104
'Agit-Prop' Style (1932)p. 108
Prologue to The Exception and the Rule (1930)p. 110
From Notes on the Opera Rise and Fall of the City of Mahagonny (1930)p. 111
From Theatre for Pleasure or Theatre for Instruction (c. 1935)p. 112
From Alienation Effects in Chinese Acting: The A-Effect (1936)p. 114
The Coat (From Notebooks 1960/1977)p. 118
From Meetings with the Theatre du Soleil (1974)p. 123
Womanhouse - Performances (1975)p. 128
Aller a la mer (1977)p. 133
Art in the Dark: A Letter to Artforum (1983)p. 136
From Feminist Media Strategies for Political Performance (1985)p. 139
From Commentary on The War Plays (1991)p. 144
Opinionsp. 148
From One Word about the Theatre as it was, as it is, and as it will be (1905)p. 161
Recollections (1934)p. 163
From The Fairground Booth (1911-12)p. 165
From A People's Theatre: A Letter to Lady Gregory (1919)p. 169
From The Variety Theatre (1913)p. 171
From Open Letter to the Workers (1917)p. 175
From Prologue to Mystery-Bouffe (2nd version, 1922)p. 176
From AB: Parade of the Eccentric (1922)p. 178
Simple Advice to Participants (1925)p. 181
From The Reconstruction of the Theatre (1929)p. 184
From Compulsory Theatrep. 186
From The Popular and the Realistic (1938)p. 188
The T.N.P. - Public Service (1953)p. 193
Response of the Road-Sweepers (1962)p. 194
From Problems Concerning Puppetry and Folk Music and Folk Art in the Light of God and McNamara (1966)p. 196
From Drama as a Process for Change (1976)p. 195
From Material for Significance (1980)p. 201
From Retrieving the Past, Exposing the Present (1978)p. 204
From A Good Night Out (1981)p. 209
The Workshop of Popular Creation (1983-5)p. 214
From How Welfare State's Events are Commissioned, Conceived and Carried Out (1983)p. 216
From Notting Hill Carnival: 'De Road is de Stage de Stage is de Road' (1986)p. 220
A Remainder: Prefatory Note to A Dream Play (1902)p. 235
From How to Reform Our Staging Practices (1904)p. 237
Study for Movement (1906-13)p. 240
From The Artists of the Theatre of the Future (1907)p. 241
From The Stylised Theatre (1907)p. 243
From Light and the Dance (1908)p. 245
Depthp. 248
From On Stage Composition (1911-12)p. 250
From Inner Impulses and Inner Action; Creative Objectives (1916-20)p. 253
From The Inspired and the Psychological Being (1918)p. 258
From Stenogramme of Two Discussions between Vakhtangov and His Students (1922)p. 260
From Play and Theory of the Duende (1930)p. 263
Letter to Comaedia (1932)p. 266
From The Theatre of Cruelty (First Manifesto) (1932)p. 268
From An Affective Athleticism (1935)p. 272
Notes on a Ritual Tragedy (1952)p. 275
Methodical Exploration (1967)p. 277
From The Knowing Body (1986)p. 281
From Rachel's Brain (1991)p. 286
From On the Balinese Theatre (1931)p. 300
From Alienation Effects in Chinese Acting (1936)p. 303
From Theatre and Culture (1970)p. 306
From The Emergence of a National Drama in the West Indies (1972)p. 311
Notes on Chicano Theater (1972)p. 315
From The World as a Can Opener (1973)p. 320
From Drama and the African World View (1976)p. 323
Unrecovered losses/black theatre traditions (1979)p. 327
From Sistren: Jamaican Women's Theatre (1981)p. 331
From The Theatre of the Oppressed in Europe: Forum Theatre (1983)p. 335
From The place of Crime, the place of Pardon (1986-7)p. 340
Eurasian Theatre (1988)p. 345
The Border as Performance Laboratory (1991)p. 351
Sources and further writingsp. 355
Acknowledgementsp. 368
Indexp. 375
Table of Contents provided by Blackwell. All Rights Reserved.

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