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Introduction: Drama, Theater, and Culture | |
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Reading Drama and Seeing Theater | |
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Drama and Theater in History | |
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Dramatic Genres | |
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Dramatic Form | |
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The Stage in Critical Practice | |
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Reading the Material Theatre | |
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Classical Athens | |
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Aside: Roman Drama and Theater | |
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Reading the Material Theater: Pronomos Painter | |
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Aeschylus, The Orestia | |
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Sophocles, Oedipus the King | |
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Euripides, Medea | |
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Aristophanes, Lysistrata | |
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Critical Contexts: Aristotle, from The Poetics | |
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Critical Perspectives: Sue-Ellen Case, from Classic Drag: the Greek Creation of Female Parts | |
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Classical Japan | |
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Aside: Sanskrit Drama and Theater | |
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Reading the Material Theater: A Portrait of Seki Sanjuro II | |
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Kan'ami Kiyotsugu, Matsukaze | |
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Nakamura Matagoro II and James R | |
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Brandon, adaptors, Chushingura: The Forty-Seven Samurai | |
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Critical Contexts: Zeami Motokiyo, from A Mirror Held to the Flower | |
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Critical Perspectives: Graham Ley, Aristotle's Poetics, Bharatamuni's Natyasastra, and Zeami's Treatises: Theory as Discourse | |
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Medieval And Renaissance England | |
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Aside: The Jacobean Court Masque | |
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Reading the Material Theater: Titus Andronicus title page | |
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Anonymous, The Wakefield Second Shepherds' Pageant | |
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Anonymous, Everyman | |
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Christopher Marlowe, Doctor Faustus | |
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William Shakespeare, Hamlet | |
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William Shakespeare, The Tempest | |
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Critical Contexts: Sir Philip Sidney, from Apology for Poetry | |
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Critical Perspectives: Phyllis Rackin, Misogyny is Everywhere | |
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Early Modern Europe | |
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Aside: Commedia Dell' Arte | |
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Reading the Material Theater: Betterton's acting style | |
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Pedro Calder?n de la Barca, Life Is a Dream | |
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Moli?re, Tartuffe | |
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Jean Racine, Phaedra | |
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Aphra Behn, The Rover | |
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Sor Juana In?s de la Cruz, Loa to The Divine Narcissus | |
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Critical Contexts: John Dryden, Preface to Troilus and Cressida, Containing the Grounds of Criticism in Tragedy | |
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Critical Perspectives: Katharine Eisaman Maus, from 'Playhouse Flesh and Blood': Sexual Ideology and the Restoration Actress | |
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Modern Europe | |
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Aside: Melodrama | |
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Reading the Material Theater: Ibsen's Notes for the Modern Tragedy | |
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Henrik Ibsen, A Doll's House | |
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August Strindberg, Miss Julie | |
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Oscar Wilde, The Importance of being Earnest | |
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Anton Chekhov, The Cherry Orchard | |
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Bernard Shaw, Major Barbara | |
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Luigi Pirandello, Six Characters In Search of an Author | |
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Bertolt Brecht, Mother Courage and Her Children | |
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Jean Genet, The Balcony | |
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Samuel Beckett, Endgame | |
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Harold Pinter, The Homecoming | |
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Heiner M?ller, Hamletmachine | |
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Caryl Churchill, Cloud Nine | |
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Sarah Kane, Blasted | |
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David Hare, Stuff Happens | |
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Critical Contexts: Friedrich Nietzsche, from The Birth of Tragedy | |
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?mile Zola, from Naturalism in the Theatre | |
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Constantin Stanislavski, from "Direction and Acting" | |
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Bertolt Brecht, "Theatre for Pleasure or Theatre for Instruction" | |
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Antonin Artaud, from The Theater and Its Double | |
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Augusto Boal, from Theater of the Oppressed | |
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Critical Perspectives: Martin Esslin, from The Theatre of the Absurd | |
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Fredric Jameson, from "Postmodernism and Consumer Society" | |
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Una Chaudhuri, from Staging Place: The Geography of Modern Drama | |
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The United States | |
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Aside: The Federal Theater Project | |
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Aside: Performance Art | |
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Reading the Material Theater: "A Jury of Her Peers," by Susan Glaspell | |
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Dion Boucicault, The Octoroon | |
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Susan Glaspell, Trifles | |
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Eugene O'Neill, The Hairy Ape | |
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Tennessee Williams, The Glass Menagerie | |
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*Arthur Miller, Death of a Salesman | |
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Amiri Baraka/LeRoi Jones, Dutchman | |
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Luis Valdez, Zoot Suit | |
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Sam Shepard, True West | |
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August Wilson, Fences | |
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David Henry Hwang, M | |
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Butterfly | |
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Tony Kushner, Angels in America, | |
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Milennium Approaches | |
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Anna Deavere Smith, Fires In the Mirror: Crown Heights, Brooklyn, and Other Identities | |
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Suzan-Lori Parks, Topdog/Underdog | |
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Critical Contexts: Arthur Miller, Tragedy and the Common Man | |
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Amiri Baraka/LeRoi Jones, "The Revolutionary Theatre" | |
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Critical perspectives: August Wilson, The Ground on Which I Stand | |
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Robert Brustein, Subsidized Separatism | |
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World Stages | |
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Aside: Intercultural Performance | |
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Reading the Material Theater: Program Notes for Translations | |
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Aim? C?saire, A Tempest | |
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Griselda Gambaro, Information for Foreigners | |
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Wole Soyinka, Death and the King's Horseman | |
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Brian Friel, Translations | |
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Athol Fugard, "Master Harold" | |
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and the boys | |
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Louis Nowra, The Golden Age | |
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Gao Xingjian, The Other Shore | |
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Vaclev Havel, Temptation | |
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Tomson Highway, Dry Lips Oughta Move to Kapuskasing | |
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Manjula Padmanabhan, Harvest | |
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Vassily Sigarev, Black Milk | |
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Critical Contexts: Frantz Fanon, from "The Fact of Blackness Critical Perspectives: Helen Gilbert and Joanne Tompkins, from Post-Colonial Drama | |
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Glossary List of Illustrations and Photographs | |
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Index | |