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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