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| Preface | |
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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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| Interpreting the Material Past | |
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| Classical Athens | |
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| The City Dionysia | |
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| The Theater of Dionysus | |
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| Theater and Social Life | |
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| Drama and Performance | |
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| Women in the Athenian Theater | |
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| Forms of Greek Drama | |
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| Greek Drama in Performance History | |
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| Aside: Roman Drama and Theater | |
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| Reading the Material Theater | |
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| Oedipus the King | |
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| Medea | |
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| Lysistrata | |
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| Critical Contexts | |
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| from The Poetics | |
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| Classical Japan | |
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| The Development of Noh Theater | |
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| The Development of Doll Theater | |
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| The Development of Kabuki Theater | |
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| Classical Japanese Drama in Performance History | |
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| Aside: Sanskrit Drama and Theater | |
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| Reading the Material Theater | |
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| Matsukaze | |
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| adaptors Chushingura: The Forty-Seven Samurai | |
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| Critical Contexts | |
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| from "A Mirror Held to the Flower" | |
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| Medieval and Renaissance England | |
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| Drama and Theater in Medieval England | |
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| Staging Medieval Drama | |
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| Drama and Theater in Renaissance London | |
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| The Professional Theater and Its Society | |
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| Aside: Shakespeare's Globe | |
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| Drama and Performance | |
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| Women in Drama and Performance | |
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| Aside: The Jacobean Court Masque | |
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| Medieval and Renaissance Drama in Performance and History | |
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| Reading the Material Theater | |
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| Everyman | |
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| Hamlet | |
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| The Tempest | |
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| Critical Contexts | |
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| from Apology for Poetry | |
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| Early Modern Europe | |
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| The Political Climate | |
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| Theater in France, 1660-1700 | |
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| Theater in England, 1660-1737 | |
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| Theater in Spain's Golden Age, 1580-1680 | |
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| Dramatic Innovation in France, England, and Spain | |
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| Aside: Commedia dell' Arte | |
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| Neoclassicism, Drama, and Theater | |
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| Early Modern Drama in Performance and History | |
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| Reading the Material Theater | |
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| Life Is a Dream | |
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| Tartuffe | |
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| The Rover | |
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| Loa to The Divine Narcissus | |
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| Critical Contexts | |
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| "Preface to Troilus and Cressida, Containing the Grounds of Criticism in Tragedy" | |
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| Modern Europe | |
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| Theater and Culture to 1950 | |
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| Aside: Melodrama | |
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| Theater and Culture Since 1950 | |
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| Modern European Drama in Performance and History | |
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| Reading the Material Theater | |
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| A Doll House | |
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| The Importance of Being Earnest | |
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| The Cherry Orchard | |
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| Major Barbara | |
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| Mother Courage and Her Children | |
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| Endgame | |
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| Cloud Nine | |
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| Blasted | |
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| Critical Contexts | |
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| from The Birth of Tragedy | |
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| from Naturalism in the Theatre | |
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| "Direction and Acting" | |
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| "Theatre for Pleasure or Theatre for Instruction" | |
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| from The Theater and Its Double | |
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| from Theatre of the Oppressed | |
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| The United States | |
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| "The" American Theater? | |
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| European Influence and American Innovation | |
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| Postwar Experiments | |
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| African-American Drama and Theater | |
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| Aside: The Federal Theater Project | |
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| Popular Theater and Mass Culture | |
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| American Drama in Performance and History | |
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| Aside: Performance Art | |
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| Reading the Material Theater: Susan Glaspell, "A Jury of Her Peers" | |
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| Trifles | |
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| The Glass Menagerie | |
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| Death of a Salesman | |
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| Zoot Suit | |
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| Fences | |
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| Angels in America, Part 1: Millennium Approaches | |
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| Critical Contexts | |
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| from "Tragedy and the Common Man" | |
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| from "The Revolutionary Theatre" | |
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| World Stages | |
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| A Global Theater? | |
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| Postcolonial Perspectives | |
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| Postcolonial Drama in Performance and History | |
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| Analyzing Postcolonial Theater and Drama | |
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| Reading the Material Theater | |
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| Aside: Intercultural Performance | |
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| Information for Foreigners | |
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| Translations | |
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| "Master Harold" ...and the boys | |
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| Harvest | |
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| Critical Contexts | |
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| from "The Fact of Blackness" | |
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| Glossary | |
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| Credits | |
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| Index | |