| Preface | p. xv |
| Theatre's Seeing Spaces | |
| Discovering Theatre | p. 3 |
| The Immediate Art | p. 3 |
| Theatre's Immediacy | p. 4 |
| Theatre's Aliveness | p. 5 |
| Theatre's Doubleness | p. 7 |
| Photo Essay: Types of Contemporary Theatres | p. 8 |
| Theatre and Life | p. 12 |
| Theatre's Fictions | p. 13 |
| Theatre's Illusion | p. 14 |
| Theatre's Spaces | p. 14 |
| Photo Essay: Stage Actors Perform Shakespeare in Film | p. 15 |
| Theatre's Audiences | p. 18 |
| Waiting For Godot | p. 20 |
| Transition | p. 23 |
| Web Sites | p. 23 |
| The Seeing Place | p. 25 |
| Ritual and Theatre | p. 25 |
| Western Theatre | p. 27 |
| The Greek Theatre | p. 27 |
| Playwright: Aeschylus and the Athenian Festivals | p. 29 |
| Tropes | p. 30 |
| Medieval Theatre | p. 30 |
| The Elizabethan Theatre | p. 33 |
| Playwright: William Shakespeare | p. 34 |
| Photo Essay: Elizabethan Theatres and Modern Reconstructions | p. 35 |
| The Proscenium Theatre | p. 36 |
| Eastern Theatre | p. 40 |
| The Chinese Theatre | p. 40 |
| Playwright: Tang Xianzu | p. 42 |
| Actor: Mei Lanfang | p. 44 |
| Japanese Theatre | p. 44 |
| Photo Essay: Eastern Influences on Western Theatre | |
| The Caucasian Chalk Circle | |
| Pacific Overtures | |
| Richard II | |
| The King Stag | |
| The Mahabharata | |
| Drums on the Dike | |
| Playwright: Chikamatsu Monzaemon | p. 51 |
| Doll Puppets: Bunraku | p. 52 |
| Transition | p. 53 |
| Web Sites | p. 53 |
| Alternative Theatrical Spaces | p. 55 |
| Forerunners of Alternative Approaches | p. 56 |
| The Polish Laboratory Theatre | p. 56 |
| Grotowski's "Poor" Theatre | p. 56 |
| Director: Jerzy Grotowski | p. 57 |
| The Living Theatre | p. 60 |
| The Brig | p. 60 |
| The Living Theatre's Gurus: Julian Beck and Judith Malina | p. 61 |
| The Living Theatre on Tour | p. 62 |
| Theatre Du Soleil | |
| Ariane Mnouchkine's Environmental Space | p. 63 |
| Director: Ariane Mnouchkine | p. 64 |
| Photo Essay: Environmental Theatre: A Forty-Year Perspective | |
| The Polish Laboratory Theatre | |
| The Living Theatre | |
| The Performance Group | |
| New York Theatre Strategy | |
| Theatre du Soleil | p. 66 |
| The Bread and Puppet Theatre | p. 68 |
| Puppeteer: Peter Schumann | p. 68 |
| Peter Schumann's Open-Air Performances | p. 68 |
| Domestic Resurrection Circus | p. 70 |
| Transition | p. 71 |
| Web Sites | p. 71 |
| Theatre's Writers, Voices, and Forms | |
| The Image Makers: The Playwright | p. 73 |
| The Playwright | p. 73 |
| The Play: A Blueprint Not Yet Built | p. 73 |
| The Playwright's Beginnings | p. 74 |
| Playwright: Edward Albee | p. 75 |
| The Playwright's Role | p. 76 |
| Playwright: Marsha Norman | p. 77 |
| Photo Essay: Women Playwrights: Emerging Voices and New Perspectives | |
| Lillian Hellman | |
| Lorraine Hansberry | |
| Maria Irene Fornes | |
| Tina Howe | |
| Caryl Churchill | |
| Wendy Wasserstein | |
| Paula Vogel | |
| Suzan-Lori Parks | |
| Playwright: Sam Shepard | p. 82 |
| The Playwright's Tools | p. 83 |
| Playwright: David Mamet | p. 84 |
| The Playwright and the Industry | p. 86 |
| Playwright: August Wilson | p. 87 |
| Playwright: Tennessee Williams | p. 89 |
| Playwright: Arthur Miller | p. 90 |
| New American Writing: Alternative Voices | p. 91 |
| Gay and Lesbian Writing | p. 91 |
| African American Writing | p. 92 |
| Asian American Writing | p. 93 |
| U.S. Latino/a Writing | p. 93 |
| Alternate Voices | |
| Pearl Cleage | |
| Rebecca Gilman | |
| Philip Kan Gotanda | |
| David Henry Hwang | |
| Eduardo Machado | |
| Terrence McNally | |
| Diana Son | |
| Cheryl L. West | |
| George C. Wolfe | |
| Transition | p. 97 |
| Web Sites | p. 97 |
| Perspectives and Forms of Theatrical Writing | p. 99 |
| Drama's Perspectives | p. 99 |
| Tragedy | p. 99 |
| The Tragic Vision | p. 100 |
| Tragic Realization | p. 100 |
| Aristotle on Tragedy | p. 100 |
| Euripides' Medea as Tragedy | p. 100 |
| Sophocles' Oedipus the King | p. 101 |
| Playwright: Euripides | p. 102 |
| Comedy | p. 103 |
| The Comic Vision | p. 103 |
| Playwright: Moliere | p. 104 |
| Tragicomedy | p. 104 |
| Definitions | p. 104 |
| Anton Chekhov's The Three Sisters | p. 106 |
| Modern Tragicomedy | p. 107 |
| Playwright: Samuel Beckett | p. 108 |
| Melodrama | p. 109 |
| The Mixed Form | p. 109 |
| Melodrama's View of Life | p. 109 |
| Farce | p. 109 |
| Lillian Hellman's The Little Foxes | p. 110 |
| The "Psychology" of Farce | p. 110 |
| Adaptations | p. 111 |
| Michael Frayn's Noises Off | p. 112 |
| Adapting for the Stage | p. 113 |
| Photo Essay: Recent Adaptations for the American Theatre | |
| The Grapes of Wrath | |
| Having Our Say: The Delany Sisters' First 100 Years | |
| Gross Indecency: The Three Trials of Oscar Wilde | |
| Playwright: Bertolt Brecht | p. 118 |
| Epic Theatre | p. 118 |
| The Epic Play | p. 118 |
| Dramatic Theatre Versus Epic Theatre | p. 120 |
| Epic Theatre as Eyewitness Account | p. 120 |
| The Alienation Effect | p. 121 |
| Absurdist Theatre | p. 122 |
| The Absurd | p. 122 |
| Playwright: Eugene Ionesco | p. 123 |
| The American "Absurd" | p. 124 |
| Eugene Ionesco's The Bald Soprano | p. 125 |
| Transition | p. 127 |
| Web Sites | p. 127 |
| Structures of Seeing | p. 129 |
| Drama: The Playwright's Art | p. 129 |
| Drama as Imitation | p. 129 |
| Drama's Elements | p. 131 |
| Playwright: Henrik Ibsen | p. 132 |
| Play Structures | p. 132 |
| Climactic Structure | p. 132 |
| Henrik Ibsen's Ghosts | p. 133 |
| Episodic Structure | p. 133 |
| Henrik Ibsen's A Doll's House | p. 136 |
| Situational Structure | p. 137 |
| Bertolt Brecht's The Caucasian Chalk Circle | p. 138 |
| Recent Structures | p. 139 |
| Solo Texts | p. 139 |
| Excerpt from The Bald Soprano | p. 140 |
| Solo Performer: Spalding Gray | p. 142 |
| Excerpt from Spalding Gray's Monster in a Box | p. 143 |
| Samuel Beckett's Rockaby with Text | p. 144 |
| Monodrama | p. 145 |
| Postmodern Theatre | p. 149 |
| Theatre of Images | p. 150 |
| Playwright-Director-Designer: Robert Wilson | p. 152 |
| Photo Essay: Theatre for a High-Tech World | |
| Einstein on the Beach | |
| The Forest | |
| 1,000 Airplanes on the Roof | |
| The Voyage | |
| The Days Before: Death | |
| Destruction and Detroit III | |
| Transition | p. 155 |
| Web Sites | p. 155 |
| Drama's Conventions and Language | p. 157 |
| Drama's Conventions | p. 157 |
| Stage Directions | p. 157 |
| Tennessee Williams' A Streetcar Named Desire | p. 159 |
| Exposition | p. 160 |
| "Stage Directions" in Shakespeare's Hamlet | p. 161 |
| Euripides' Prologue in The Trojan Women | p. 162 |
| Point of Attack | p. 163 |
| Complication, Crisis, Climax | p. 163 |
| Shakespeare's Macbeth | p. 164 |
| Resolutions or Endings | p. 165 |
| Simultaneous Plots | p. 165 |
| Conventions of Time | p. 165 |
| Dramatic Versus Actual Time | p. 165 |
| Shakespeare's Hamlet | p. 166 |
| Playwright: Luigi Pirandello | p. 167 |
| Conventions of Metaphor | p. 167 |
| The Play-Within-the-Play | p. 167 |
| Luigi Pirandello's Six Characters in Search of an Author (with text) | p. 168 |
| Photo Essay: The Play-Within-the-Play: Traditional and Modern | |
| Hamlet | |
| Six Characters in Search of an Author | |
| The Caucasian Chalk Circle | |
| Marat/Sade | |
| Noises Off | |
| Drama's Language | p. 173 |
| Words and Gestures | p. 173 |
| Verbal and Nonverbal Language | p. 175 |
| Types of Stage Language | p. 175 |
| Shakespeare's Verse | p. 175 |
| Anton Chekhov's The Cherry Orchard | p. 176 |
| Chekhov's Sounds and Silences | p. 177 |
| Soliloquy from Hamlet | p. 178 |
| Brecht's Gestic Language | p. 179 |
| Anton Chekhov's Sound Effects in The Cherry Orchard | p. 180 |
| Playwright: Anton Chekhov | p. 182 |
| Contemporary Trends in American Theatre | p. 183 |
| David Mamet's Wordsmiths in Glengarry Glen Ross | p. 184 |
| David Mamet's Wordsmiths | p. 184 |
| Transition | p. 187 |
| Web Sites | p. 187 |
| Theatre's Practitioners | |
| The Image Makers: The Actor | p. 189 |
| Acting--the Astonishing Art | p. 189 |
| Acting Is Doing | p. 189 |
| The Actor's Reality | p. 190 |
| External Technique | p. 190 |
| Internal Belief | p. 193 |
| The Actor's Tools | p. 193 |
| The Actor's Training | p. 194 |
| Preparing the Role | p. 194 |
| Lee Strasberg and the Actors Studio | p. 196 |
| Sanford Meisner's Foundation Technique | p. 197 |
| Actor: Uta Hagen | p. 198 |
| Improvisation | p. 199 |
| Practical Aesthetics | p. 199 |
| Physical and Vocal Training | p. 200 |
| Director/Teacher: Anne Bogart | p. 202 |
| Voice Coach: Cicely Berry | p. 203 |
| Rehearsals and Performance | p. 204 |
| The Actor in Film | p. 204 |
| Photo Essay: Great Moments in Acting | |
| Jessica Tandy | |
| Bert Lahr | |
| James Earl Jones | |
| George Grizzard | |
| Cherry Jones | |
| Janet McTeer | |
| Transition | p. 211 |
| Web Sites | p. 211 |
| The Image Makers: The Director | p. 213 |
| Forerunners | p. 213 |
| Actor-Manager: Caroline Neuber | p. 214 |
| The Director as Artist | p. 214 |
| Producer-Director: Duke of Saxe-Meiningen Georg II | p. 215 |
| Producer-Director: Andre Antoine | p. 216 |
| Producer-Director: Konstantin Stanislavski | p. 217 |
| Early Responsibilities: Play Selection, Casting, Conferences | p. 217 |
| Director: Peter Brook | p. 218 |
| The Director's Assistants | p. 219 |
| Dramaturgy and the Production Dramaturg | p. 220 |
| Directing Approaches and Styles | p. 220 |
| Stage Vocabulary | p. 221 |
| Preplanned Approach | p. 221 |
| Collaborative Approach | p. 222 |
| Bertolt Brecht's Approach to Directing | p. 223 |
| Photo Essay: The Director as Creator | |
| Peter Brook | |
| Ariane Mnouchkine | |
| Andrei Serban | |
| Julie Taymor | |
| Robert Wilson | |
| The Director's Vision | p. 228 |
| The New Collaborators | p. 228 |
| Pina Bausch, Martha Clarke, Robert Wilson | p. 228 |
| Director: Elia Kazan | p. 229 |
| Elia Kazan's Director's Notebook for A Streetcar Named Desire | p. 230 |
| Director: Alan Schneider | p. 232 |
| Director/Choreographers: Martha Clarke and Pina Bausch | p. 233 |
| Transition | p. 235 |
| Web Sites | p. 235 |
| The Image Makers: The Designers Scenery, Costumes, Makeup, Masks, Wigs and Hair | p. 237 |
| The Scene Designer | p. 237 |
| Background | p. 237 |
| Designers: Appia and Craig | p. 239 |
| The Designer's Training | p. 239 |
| Designing for the Theatre | p. 240 |
| Designers: Ming Cho Lee and John Lee Beatty | p. 241 |
| Photo Essay: Modern Stage Designs | |
| Jo Mielziner's A Streetcar Named Desire and Death of a Salesman | |
| Teo Otto's Mother Courage and Her Children | |
| Josef Svoboda's Oedipus the King | |
| John Lee Beatty's The Heiress | |
| The Costume Designer | p. 247 |
| The Costume | p. 247 |
| Costume Designer: Patricia Zipprodt | p. 248 |
| Photo Essay: Broadway Set and Costume Designers at Work | |
| John Lee Beatty | |
| Bob Crowley | |
| Jane Greenwood | |
| William Ivey Long | |
| John Napier | |
| Ian MacNeil | |
| Martin Pakledinaz | |
| Anthony Powell | |
| Robin Wagner | |
| Tony Walton | |
| Costume Designer: Theoni V. Aldredge | p. 252 |
| Costume Designers: Jane Greenwood and William Ivey Long | p. 253 |
| The Designer's Process | p. 253 |
| Costume Construction: Barbara Matera | p. 255 |
| Makeup, Masks, Wigs and Hair | p. 257 |
| Makeup | p. 257 |
| Masks | p. 258 |
| Wig and Hair Design | p. 259 |
| Wig and Hair Designer: Paul Huntley | p. 260 |
| Transition | p. 261 |
| Web Sites | p. 261 |
| The Image Makers: Designers Lighting, Sound, and Computer Technologies | p. 263 |
| The Lighting Designer | p. 263 |
| Background | p. 263 |
| Lighting Designer: Jennifer Tipton | p. 264 |
| The Art of Light | p. 266 |
| The Designer's Process | p. 267 |
| The Designer's Working Methods | p. 267 |
| Special Lighting Effects | p. 268 |
| The Designer's Assistants | p. 268 |
| Lighting Designers: Jules Fisher, Peggy Eisenhauer, and Tharon Musser | p. 269 |
| Photo Essay: Lighting Instruments, Control Consoles, and Accessories | |
| Ellipsoidals | |
| Fresnels | |
| Follow Spotlights | |
| Striplights | |
| Control Consoles | |
| LCD Displays and Monitors | |
| Dimmer Racks | |
| The Sound Designer | p. 272 |
| The Art of Theatrical Sound | p. 272 |
| Sound Designer: Abe Jacob | p. 273 |
| Sound Designer: Jonathan Deans | p. 276 |
| Sound Design: Laurie Anderson and Moby Dick | p. 277 |
| The Designer's Working Methods | p. 277 |
| Special Effects with Sound | p. 278 |
| Computer-Aided Design: Scenery, Costumes, Lighting, and Sound | p. 278 |
| Photo Essay: New Stage Technologies | |
| Automated Lighting Instruments | |
| Intercom Systems | |
| Portable Sound Systems | |
| Technical Production | p. 282 |
| The Production Team | p. 282 |
| Transition | p. 285 |
| Web Sites | p. 285 |
| The Image Makers: The Producer | p. 287 |
| Producing on Broadway | p. 287 |
| The Broadway Producer | p. 287 |
| Photo Essay: Broadway's "Hottest" Property: The Musical | |
| Aida | |
| The Lion King | |
| Fosse | |
| Chicago | |
| Rent | |
| The Phantom of the Opera | |
| Producer: Cameron Mackintosh | p. 292 |
| Broadway Contracts | p. 295 |
| Playwrights' Agent: Audrey Wood | p. 296 |
| Producing off Broadway | p. 298 |
| Producer: Daryl Roth | p. 299 |
| Producing in Regional Theatres | p. 301 |
| Literary Management and Literary Managers | p. 305 |
| Producing Director: Zelda Fichandler | p. 307 |
| Artistic Director: Gregory Boyd | p. 308 |
| Transition | p. 309 |
| Web Sites | p. 309 |
| Theatre's Modern Diversity | |
| Re-Imaging Cultures: Theatrical Diversity | p. 311 |
| Cultural Links | p. 311 |
| Multiculturalism | p. 312 |
| Interculturalism | p. 312 |
| Transculturalism | p. 312 |
| Peter Brook and the Mahabharata | p. 313 |
| The Mahabharata | p. 314 |
| Julie Taymor and Juan Darien | p. 315 |
| Creator: Julie Taymor | p. 316 |
| Ariane Mnouchkine and Les Atrides | p. 318 |
| Cultural Diversity and Performance Art | p. 320 |
| Photo Essay: Re-imaging Cultures | |
| Peter Brook | |
| Ariane Mnouchkine | |
| Andrei Serban | |
| Julie Taymor | |
| Today's Performance Artists: Eric Bogosian, Eve Ensler, Karen Finley, Guillermo Gomez-Pena, Holly Hughes, John Leguizamo | p. 324 |
| The Solo Performance | p. 326 |
| Fires in the Mirror: Crown Heights, Brooklyn, and Other Identities | |
| Twilight: Los Angeles 1992 | |
| House Arrest by Anna Deavere Smith | |
| Performance Artist: Anna Deavere Smith | p. 327 |
| Staging Ethnic Diversity | p. 329 |
| Cultural Separatism or Cultural Fusion? | p. 335 |
| Transition | p. 337 |
| Web Sites | p. 337 |
| Theatre's Critics | |
| Viewpoints | p. 339 |
| Criticism | p. 339 |
| Seeing Theatre | p. 340 |
| Audiences as Critics | p. 340 |
| Audience Viewpoints | p. 341 |
| Arthur Miller's Death of a Salesman | p. 342 |
| Tony Kushner's Angels in America, Part Two: Perestroika | p. 343 |
| Tennessee Williams' The Glass Menagerie | p. 345 |
| The Professional Critic | p. 346 |
| The Critic's Job | p. 346 |
| Today's Leading Critics | p. 347 |
| The Critic's Creativity | p. 348 |
| The Critic's Questions | p. 348 |
| Performance Notes | p. 349 |
| Theatre Critics: George Jean Nathan, Claudia Cassidy, Brooks Atkinson, Ben Brantley, Gussow | p. 350 |
| Theatre Scholarship | p. 351 |
| Critical Standards | p. 352 |
| Writing the Theatre Review | p. 352 |
| Photo Essay: Critics at Work | p. 353 |
| Frank Rich on Beckett's Rockaby | p. 356 |
| Three Working Critics | p. 356 |
| Brooks Atkinson on A Streetcar Named Desire | p. 356 |
| Kenneth Tynan on Look Back in Anger | p. 359 |
| Edith Oliver on American Buffalo | p. 361 |
| Transition | p. 363 |
| Web Sites | p. 363 |
| Glossary | p. 365 |
| Suggested Readings | p. 375 |
| Notes | p. 383 |
| Acknowledgments | p. 389 |
| Index | p. 393 |
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