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| Contributors | |
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| Acknowledgments | |
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| Preface: Interpreting performances and cultures | |
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| A first mapping: About this book | |
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| A second mapping: Cultural performances, theatre, and drama | |
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| A third mapping: About history, historiography, and historical methods | |
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| The historian's sources | |
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| A fourth mapping: Periodization through modes of human communication | |
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| Case studies and interpretive approaches: The historian at work | |
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| A note on diacritics, spellings, and names | |
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| Performance and theatre in oral and written cultures before 1600 | |
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| Introduction | |
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| The evolution of human language and consciousness | |
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| Human language, writing and society | |
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| Performance, communication, and remembrance | |
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| Oral, ritual, and shamanic performance | |
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| Primary orality | |
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| Oral performance | |
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| Oral texts and their transmission under the written sign: Vedic chanting in India | |
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| Ritual specialists: Accessing sacred power | |
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| Late Neolithic ritual landscapes and pilgrimage in England | |
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| Early Celtic oral and ritual festival performance | |
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| Interpreting and understanding ritual | |
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| Ritual, ceremony, and collective social life | |
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| The healing powers of ritual/shamanic specialists | |
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| Summary | |
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| Case studies: Yoruba ritual as "play," and "contingency" in the ritual process | |
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| Interpretive approach: Theories of play and improvisation | |
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| Korean shamanism and the power of speech | |
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| Interpretive approach: Speech act theory | |
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| Religious and civic festivals: Early drama and theatre in context | |
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| Commemorative ritual "drama" in Abydos, Egypt | |
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| Dialogic drama in the city-state of Athens | |
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| Mesoamerican performance | |
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| Texts in other traditions | |
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| Medieval Christian liturgy and drama | |
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| Islamic commemorative mourning "dramas": The Ta'zieh of Iran | |
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| Summary discussion | |
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| Case studies: Classical Greek theatre: Looking at Oedipus | |
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| Interpretive approach: Cognitive studies | |
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| Christians and Moors: Medieval performance in Spain and the New World | |
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| Interpretive approach: Cultural hierarchy | |
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| Imperial theatre: Pleasure, power, and aesthetics | |
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| Drama, theatre, and performance in the Roman Republic and Empire | |
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| Indian literary and commemorative drama and theatre | |
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| Early Chinese and Japanese drama, theatre, and performance | |
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| Summary discussion | |
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| Case studies: Plautus's plays: What's so funny? | |
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| Henri Bergson's theory of laughter | |
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| Bergson's theory in historical perspective | |
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| Kutiyattam Sanskrit theatre of India: Rasa-bhava aesthetic theory and the question of taste | |
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| Interpretive approach: Reception theory | |
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| The Silent Bell: The Japanese noh play, Dojoji | |
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| Interpretive approach: Feminist and gender theory, modified for medieval Japan | |
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| Theatre and print cultures, 1500-1900 | |
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| Introduction: China and Western Europe | |
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| The rise of European professional theatres | |
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| Commedia dell'arte | |
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| Institutionalizing drama in Europe | |
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| Golden Age theatre in Spain, 1590-1680 | |
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| Neoclassicism and print in Europe | |
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| Le Cid and French absolutism | |
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| Scenic perspectivism in print and on stage | |
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| Acting and print in Europe after 1700 | |
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| European dramatists claim authority | |
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| Theatre, print, and the public | |
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| Theatre and the state, 1600-1900 | |
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| Theatre and the state in France, 1630-1675 | |
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| From patronage to control in France, 1675-1789 | |
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| Samurai warriors versus kabuki actors, 1600-1670 | |
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| Regulating kabuki, 1670-1868 | |
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| Theatre and the state in England, 1600-1660 | |
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| Patents, censorship, and social order in England, 1660-1790 | |
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| Theatre and the state in England and France, 1790-1900 | |
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| Case studies: Moliere and carnival laughter | |
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| Interpretive approach: Mikhail M. Bakhtin's concept of the carnivalesque | |
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| Kabuki and bunraku: Mimesis and the hybrid body | |
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| Interpretive approach: Mimesis, hybridity, and the body | |
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| Shakespearean sexuality in Twelfth Night | |
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| Interpretive approach: Queer theory | |
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| Theatres for knowledge through feeling, 1700-1900 | |
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| Sentimental drama in England | |
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| Sentiment on the continent | |
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| Acting in the eighteenth century | |
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| Feeling and knowledge in Kathakali dance-drama | |
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| Changes and challenges in sentimentalism | |
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| Melodrama and the French Revolution | |
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| Melodramatic spectacle | |
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| Melodrama gains spectators | |
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| Case studies: Theatre iconology and the actor as icon: David Garrick | |
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| Interpretive approach: Cultural studies and theatre iconology | |
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| Kathakali dance-drama: Divine "play" and human suffering on stage | |
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| Interpretive approach: Ethnography and history | |
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| Theatre and hegemony: Comparing popular melodramas | |
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| Interpretive approach: Cultural hegemony | |
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| Theatre, nation, and empire, 1750-1900 | |
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| Romanticism and the theatre | |
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| Romanticism, history, and nationalism | |
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| Nationalism and imperialism in theatre in the United States | |
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| Nationalism and imperialism on the Russian stage | |
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| Orientalism on the European stage | |
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| Theatre riots | |
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| Case study: The Playboy riots: Nationalism in the Irish theatre | |
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| Interpretive approach: Cognitive linguistics | |
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| Theatre in modern media cultures, 1850-1970 | |
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| Introduction: Historical changes after 1850 | |
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| Photography and audiophony in the theatre | |
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| Spectacular bodies on the popular stage | |
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| The rise of realism in the West | |
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| Realist producer-directors | |
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| The rise of realism in Japan | |
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| Avante-garde theatres in the West | |
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| The Great War as a turning point in world theatre | |
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| Shakespeare and film in England | |
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| Lyrical abstraction and the radio in France | |
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| Psychological realism in the United States | |
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| Theatre and politics | |
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| The continuing power of print | |
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| Theatres of popular entertainment, 1850-1970 | |
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| Promoting popular entertainment | |
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| Urban carnivals and optical delights | |
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| Variety theatre | |
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| English music hall | |
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| Theatrical revues | |
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| Popular melodrama and comedy | |
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| Musical theatre | |
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| Case studies: "Blacking up" on the U.S. stage | |
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| Interpretive approach: Reification and utopia in popular culture | |
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| British pantomime: How "bad" theatre remains popular | |
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| Interpretive approach: Phenomenology and history | |
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| Theatres of the avant-garde and their legacy, 1880-1970 | |
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| Naturalism on stage | |
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| Symbolism and its influence | |
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| Strindberg and the expressionists | |
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| Retrospectivists and futurists | |
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| Meyerhold and constructivisim | |
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| Dadaists and surrealists | |
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| Institutionalizing the avant-garde | |
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| The end of the avant-garde | |
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| The avant-garde legacy in the United States | |
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| The avant-garde legacy in France, 1945-1970 | |
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| Theatrical innovation in Latin America, 1930-1970 | |
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| Theatrical innovation in Eastern Europe, 1955-1970 | |
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| Theatrical innovation in South and Southeast Asia, 1950-1970 | |
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| The avant-garde and political theatre | |
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| Case studies: Selves, roles, and actors: Actor training in the West | |
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| Interpretive approach: Cognitive psychology | |
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| Discoursing on desire: Desire Under the Elms in the 1920s | |
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| Interpretive approach: Discourse theory | |
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| Beckett's theatrical minimalism | |
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| Interpretive approach: Performative writing | |
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| Theatres for reform and revolution, 1880-1970 | |
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| Liberalism in the theatre, 1914-1930 | |
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| Socialism in the theatre before 1914 | |
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| Theatricalizing the Russian revolution | |
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| The influence of the revolution in the West | |
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| Theatres of anti-imperialism, 1900-1960 | |
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| Postwar theatre in Japan and Germany | |
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| Theatre and the Cold War | |
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| 1968 and its consequences | |
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| Case studies: Ibsen's A Doll House: If Nora were a material girl | |
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| Interpretive approach: Cultural materialism | |
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| Social drama in Kerala, India: Staging the "revolution" | |
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| Interpretive approach: Politics, ideology, history, and performance | |
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| Brecht directs Mother Courage | |
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| Interpretive approach: Semiotics | |
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| Theatre and performance in the age of global communications, 1950-present | |
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| Introduction: Colonialism, globalization, media, and theatre | |
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| Media and theatre: All in the family | |
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| Globalization, media, theatre, and performance | |
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| The media: Power and resistance | |
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| Theatre, performance, resistance | |
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| Performance art | |
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| Theatre in postcolonial African nations | |
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| Rich and poor theatres of globalization | |
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| National theatres in the international marketplace | |
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| International festivals | |
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| Mega-musicals | |
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| Radical theatre in the West after 1968 | |
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| Post-1968 radical theatre in developing nations | |
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| Theatres for development | |
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| Nuevo Teatro Popular | |
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| Community-based theatre since 1990 | |
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| Case studies: The vortex of Times Square | |
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| Interpretive approach: Vortices of behavior | |
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| Media and theatre: Niche marketing | |
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| Director, text, and performance in the postmodern world | |
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| Aristotle to postmodernism: Texts and contexts | |
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| Director and text in Antonin Artaud's "theatre of cruelty" | |
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| The holy actor as text in Jerzy Grotowski's "poor theatre" | |
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| Peter Brook's Shakespeare and contemporary authenticity | |
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| Terayama Shuji and the disquieting critique of theatrical convention | |
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| Suzuki Tadashi's contemporary Japanese Euripides | |
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| Other negotiations with the classics: Roger Planchon's Moliere | |
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| The United States: The Performance Group, La Mama, and the Wooster Group | |
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| Theatre of images: Robert Wilson and others | |
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| Case studies: The crisis of representation and the authenticity of performance: Antonin Artaud and Jacques Derrida | |
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| Interpretive approach: Deconstruction | |
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| Global Shakespeare | |
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| Interpretive approach: Postcolonial criticism | |
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| Interculturalism, hybridity, tourism: The performing world on new terms | |
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| Globalization and cross-cultural negotiations in theatre | |
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| Historical cross-cultural conversations | |
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| Intercultural theatre | |
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| Intracultural theatre | |
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| Syncretism and hybridity | |
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| Tourism and performance | |
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| Case studies: Whose Mahabharata is it, anyway? The ethics and aesthetics of intercultural performance | |
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| Interpretive approach: The historian between two views of intercultural performance | |
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| Imagining contemporary China: Gao Xingjian's Wild Man in post-Cultural Revolution China | |
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| Interpretive approach: Theories of national identity | |
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| Backstage/frontstage: Ethnic tourist performances and identity in "America's Little Switzerland" | |
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| Interpretive approach: Sociological theories of tourism and everyday performance | |
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| Index | |