Theatre A Way of Seeing

ISBN-10: 0534240240

ISBN-13: 9780534240240

Edition: 4th 1995

List price: $73.95
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Description:

Presenting the experience of theatre; who sees, what is seen, where and how it is seen largely from the viewpoint of audiences exposed to a complex, living art that involves people, spaces, plays, designs, staging, forms, language, and productions. The text takes students through this complete experience of theatre in a four-part organization: Part I (Seeing Theatre) provides a basic introduction to theatre as well as discussing traditional and alternative theatrical spaces; Part II (The Image Makers: Playwright) introduces students to the craft of playwriting; Part III (The Image Makers: Artists and Producers) covers the roles of actors and behind-the-scenes personnel in the theatre; Part IV (Reimaging Theatre) discusses Theatrical Diversity and criticism.
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Book details

List price: $73.95
Edition: 4th
Copyright year: 1995
Publisher: Wadsworth
Publication date: 8/18/1994
Binding: Paperback
Pages: 448
Size: 7.35" wide x 9.12" long x 0.67" tall
Weight: 1.452
Language: English

Prefacep. xv
Theatre's Seeing Spaces
Discovering Theatrep. 3
The Immediate Artp. 3
Theatre's Immediacyp. 4
Theatre's Alivenessp. 5
Theatre's Doublenessp. 7
Photo Essay: Types of Contemporary Theatresp. 8
Theatre and Lifep. 12
Theatre's Fictionsp. 13
Theatre's Illusionp. 14
Theatre's Spacesp. 14
Photo Essay: Stage Actors Perform Shakespeare in Filmp. 15
Theatre's Audiencesp. 18
Waiting For Godotp. 20
Transitionp. 23
Web Sitesp. 23
The Seeing Placep. 25
Ritual and Theatrep. 25
Western Theatrep. 27
The Greek Theatrep. 27
Playwright: Aeschylus and the Athenian Festivalsp. 29
Tropesp. 30
Medieval Theatrep. 30
The Elizabethan Theatrep. 33
Playwright: William Shakespearep. 34
Photo Essay: Elizabethan Theatres and Modern Reconstructionsp. 35
The Proscenium Theatrep. 36
Eastern Theatrep. 40
The Chinese Theatrep. 40
Playwright: Tang Xianzup. 42
Actor: Mei Lanfangp. 44
Japanese Theatrep. 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 Monzaemonp. 51
Doll Puppets: Bunrakup. 52
Transitionp. 53
Web Sitesp. 53
Alternative Theatrical Spacesp. 55
Forerunners of Alternative Approachesp. 56
The Polish Laboratory Theatrep. 56
Grotowski's "Poor" Theatrep. 56
Director: Jerzy Grotowskip. 57
The Living Theatrep. 60
The Brigp. 60
The Living Theatre's Gurus: Julian Beck and Judith Malinap. 61
The Living Theatre on Tourp. 62
Theatre Du Soleil
Ariane Mnouchkine's Environmental Spacep. 63
Director: Ariane Mnouchkinep. 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 Soleilp. 66
The Bread and Puppet Theatrep. 68
Puppeteer: Peter Schumannp. 68
Peter Schumann's Open-Air Performancesp. 68
Domestic Resurrection Circusp. 70
Transitionp. 71
Web Sitesp. 71
Theatre's Writers, Voices, and Forms
The Image Makers: The Playwrightp. 73
The Playwrightp. 73
The Play: A Blueprint Not Yet Builtp. 73
The Playwright's Beginningsp. 74
Playwright: Edward Albeep. 75
The Playwright's Rolep. 76
Playwright: Marsha Normanp. 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 Shepardp. 82
The Playwright's Toolsp. 83
Playwright: David Mametp. 84
The Playwright and the Industryp. 86
Playwright: August Wilsonp. 87
Playwright: Tennessee Williamsp. 89
Playwright: Arthur Millerp. 90
New American Writing: Alternative Voicesp. 91
Gay and Lesbian Writingp. 91
African American Writingp. 92
Asian American Writingp. 93
U.S. Latino/a Writingp. 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
Transitionp. 97
Web Sitesp. 97
Perspectives and Forms of Theatrical Writingp. 99
Drama's Perspectivesp. 99
Tragedyp. 99
The Tragic Visionp. 100
Tragic Realizationp. 100
Aristotle on Tragedyp. 100
Euripides' Medea as Tragedyp. 100
Sophocles' Oedipus the Kingp. 101
Playwright: Euripidesp. 102
Comedyp. 103
The Comic Visionp. 103
Playwright: Molierep. 104
Tragicomedyp. 104
Definitionsp. 104
Anton Chekhov's The Three Sistersp. 106
Modern Tragicomedyp. 107
Playwright: Samuel Beckettp. 108
Melodramap. 109
The Mixed Formp. 109
Melodrama's View of Lifep. 109
Farcep. 109
Lillian Hellman's The Little Foxesp. 110
The "Psychology" of Farcep. 110
Adaptationsp. 111
Michael Frayn's Noises Offp. 112
Adapting for the Stagep. 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 Brechtp. 118
Epic Theatrep. 118
The Epic Playp. 118
Dramatic Theatre Versus Epic Theatrep. 120
Epic Theatre as Eyewitness Accountp. 120
The Alienation Effectp. 121
Absurdist Theatrep. 122
The Absurdp. 122
Playwright: Eugene Ionescop. 123
The American "Absurd"p. 124
Eugene Ionesco's The Bald Sopranop. 125
Transitionp. 127
Web Sitesp. 127
Structures of Seeingp. 129
Drama: The Playwright's Artp. 129
Drama as Imitationp. 129
Drama's Elementsp. 131
Playwright: Henrik Ibsenp. 132
Play Structuresp. 132
Climactic Structurep. 132
Henrik Ibsen's Ghostsp. 133
Episodic Structurep. 133
Henrik Ibsen's A Doll's Housep. 136
Situational Structurep. 137
Bertolt Brecht's The Caucasian Chalk Circlep. 138
Recent Structuresp. 139
Solo Textsp. 139
Excerpt from The Bald Sopranop. 140
Solo Performer: Spalding Grayp. 142
Excerpt from Spalding Gray's Monster in a Boxp. 143
Samuel Beckett's Rockaby with Textp. 144
Monodramap. 145
Postmodern Theatrep. 149
Theatre of Imagesp. 150
Playwright-Director-Designer: Robert Wilsonp. 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
Transitionp. 155
Web Sitesp. 155
Drama's Conventions and Languagep. 157
Drama's Conventionsp. 157
Stage Directionsp. 157
Tennessee Williams' A Streetcar Named Desirep. 159
Expositionp. 160
"Stage Directions" in Shakespeare's Hamletp. 161
Euripides' Prologue in The Trojan Womenp. 162
Point of Attackp. 163
Complication, Crisis, Climaxp. 163
Shakespeare's Macbethp. 164
Resolutions or Endingsp. 165
Simultaneous Plotsp. 165
Conventions of Timep. 165
Dramatic Versus Actual Timep. 165
Shakespeare's Hamletp. 166
Playwright: Luigi Pirandellop. 167
Conventions of Metaphorp. 167
The Play-Within-the-Playp. 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 Languagep. 173
Words and Gesturesp. 173
Verbal and Nonverbal Languagep. 175
Types of Stage Languagep. 175
Shakespeare's Versep. 175
Anton Chekhov's The Cherry Orchardp. 176
Chekhov's Sounds and Silencesp. 177
Soliloquy from Hamletp. 178
Brecht's Gestic Languagep. 179
Anton Chekhov's Sound Effects in The Cherry Orchardp. 180
Playwright: Anton Chekhovp. 182
Contemporary Trends in American Theatrep. 183
David Mamet's Wordsmiths in Glengarry Glen Rossp. 184
David Mamet's Wordsmithsp. 184
Transitionp. 187
Web Sitesp. 187
Theatre's Practitioners
The Image Makers: The Actorp. 189
Acting--the Astonishing Artp. 189
Acting Is Doingp. 189
The Actor's Realityp. 190
External Techniquep. 190
Internal Beliefp. 193
The Actor's Toolsp. 193
The Actor's Trainingp. 194
Preparing the Rolep. 194
Lee Strasberg and the Actors Studiop. 196
Sanford Meisner's Foundation Techniquep. 197
Actor: Uta Hagenp. 198
Improvisationp. 199
Practical Aestheticsp. 199
Physical and Vocal Trainingp. 200
Director/Teacher: Anne Bogartp. 202
Voice Coach: Cicely Berryp. 203
Rehearsals and Performancep. 204
The Actor in Filmp. 204
Photo Essay: Great Moments in Acting
Jessica Tandy
Bert Lahr
James Earl Jones
George Grizzard
Cherry Jones
Janet McTeer
Transitionp. 211
Web Sitesp. 211
The Image Makers: The Directorp. 213
Forerunnersp. 213
Actor-Manager: Caroline Neuberp. 214
The Director as Artistp. 214
Producer-Director: Duke of Saxe-Meiningen Georg IIp. 215
Producer-Director: Andre Antoinep. 216
Producer-Director: Konstantin Stanislavskip. 217
Early Responsibilities: Play Selection, Casting, Conferencesp. 217
Director: Peter Brookp. 218
The Director's Assistantsp. 219
Dramaturgy and the Production Dramaturgp. 220
Directing Approaches and Stylesp. 220
Stage Vocabularyp. 221
Preplanned Approachp. 221
Collaborative Approachp. 222
Bertolt Brecht's Approach to Directingp. 223
Photo Essay: The Director as Creator
Peter Brook
Ariane Mnouchkine
Andrei Serban
Julie Taymor
Robert Wilson
The Director's Visionp. 228
The New Collaboratorsp. 228
Pina Bausch, Martha Clarke, Robert Wilsonp. 228
Director: Elia Kazanp. 229
Elia Kazan's Director's Notebook for A Streetcar Named Desirep. 230
Director: Alan Schneiderp. 232
Director/Choreographers: Martha Clarke and Pina Bauschp. 233
Transitionp. 235
Web Sitesp. 235
The Image Makers: The Designers Scenery, Costumes, Makeup, Masks, Wigs and Hairp. 237
The Scene Designerp. 237
Backgroundp. 237
Designers: Appia and Craigp. 239
The Designer's Trainingp. 239
Designing for the Theatrep. 240
Designers: Ming Cho Lee and John Lee Beattyp. 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 Designerp. 247
The Costumep. 247
Costume Designer: Patricia Zipprodtp. 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. Aldredgep. 252
Costume Designers: Jane Greenwood and William Ivey Longp. 253
The Designer's Processp. 253
Costume Construction: Barbara Materap. 255
Makeup, Masks, Wigs and Hairp. 257
Makeupp. 257
Masksp. 258
Wig and Hair Designp. 259
Wig and Hair Designer: Paul Huntleyp. 260
Transitionp. 261
Web Sitesp. 261
The Image Makers: Designers Lighting, Sound, and Computer Technologiesp. 263
The Lighting Designerp. 263
Backgroundp. 263
Lighting Designer: Jennifer Tiptonp. 264
The Art of Lightp. 266
The Designer's Processp. 267
The Designer's Working Methodsp. 267
Special Lighting Effectsp. 268
The Designer's Assistantsp. 268
Lighting Designers: Jules Fisher, Peggy Eisenhauer, and Tharon Musserp. 269
Photo Essay: Lighting Instruments, Control Consoles, and Accessories
Ellipsoidals
Fresnels
Follow Spotlights
Striplights
Control Consoles
LCD Displays and Monitors
Dimmer Racks
The Sound Designerp. 272
The Art of Theatrical Soundp. 272
Sound Designer: Abe Jacobp. 273
Sound Designer: Jonathan Deansp. 276
Sound Design: Laurie Anderson and Moby Dickp. 277
The Designer's Working Methodsp. 277
Special Effects with Soundp. 278
Computer-Aided Design: Scenery, Costumes, Lighting, and Soundp. 278
Photo Essay: New Stage Technologies
Automated Lighting Instruments
Intercom Systems
Portable Sound Systems
Technical Productionp. 282
The Production Teamp. 282
Transitionp. 285
Web Sitesp. 285
The Image Makers: The Producerp. 287
Producing on Broadwayp. 287
The Broadway Producerp. 287
Photo Essay: Broadway's "Hottest" Property: The Musical
Aida
The Lion King
Fosse
Chicago
Rent
The Phantom of the Opera
Producer: Cameron Mackintoshp. 292
Broadway Contractsp. 295
Playwrights' Agent: Audrey Woodp. 296
Producing off Broadwayp. 298
Producer: Daryl Rothp. 299
Producing in Regional Theatresp. 301
Literary Management and Literary Managersp. 305
Producing Director: Zelda Fichandlerp. 307
Artistic Director: Gregory Boydp. 308
Transitionp. 309
Web Sitesp. 309
Theatre's Modern Diversity
Re-Imaging Cultures: Theatrical Diversityp. 311
Cultural Linksp. 311
Multiculturalismp. 312
Interculturalismp. 312
Transculturalismp. 312
Peter Brook and the Mahabharatap. 313
The Mahabharatap. 314
Julie Taymor and Juan Darienp. 315
Creator: Julie Taymorp. 316
Ariane Mnouchkine and Les Atridesp. 318
Cultural Diversity and Performance Artp. 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 Leguizamop. 324
The Solo Performancep. 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 Smithp. 327
Staging Ethnic Diversityp. 329
Cultural Separatism or Cultural Fusion?p. 335
Transitionp. 337
Web Sitesp. 337
Theatre's Critics
Viewpointsp. 339
Criticismp. 339
Seeing Theatrep. 340
Audiences as Criticsp. 340
Audience Viewpointsp. 341
Arthur Miller's Death of a Salesmanp. 342
Tony Kushner's Angels in America, Part Two: Perestroikap. 343
Tennessee Williams' The Glass Menageriep. 345
The Professional Criticp. 346
The Critic's Jobp. 346
Today's Leading Criticsp. 347
The Critic's Creativityp. 348
The Critic's Questionsp. 348
Performance Notesp. 349
Theatre Critics: George Jean Nathan, Claudia Cassidy, Brooks Atkinson, Ben Brantley, Gussowp. 350
Theatre Scholarshipp. 351
Critical Standardsp. 352
Writing the Theatre Reviewp. 352
Photo Essay: Critics at Workp. 353
Frank Rich on Beckett's Rockabyp. 356
Three Working Criticsp. 356
Brooks Atkinson on A Streetcar Named Desirep. 356
Kenneth Tynan on Look Back in Angerp. 359
Edith Oliver on American Buffalop. 361
Transitionp. 363
Web Sitesp. 363
Glossaryp. 365
Suggested Readingsp. 375
Notesp. 383
Acknowledgmentsp. 389
Indexp. 393
Table of Contents provided by Syndetics. All Rights Reserved.
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