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Preface | |
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Introduction | |
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The Theatre: Its Elements | |
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What Is the Theatre? | |
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The Theatre Building | |
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The Company, or Troupe, of Players | |
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The Occupation of Theatre | |
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WorkArt | |
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Impersonation | |
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Performance | |
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What Is a Play? | |
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Classifying Plays | |
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Duration | |
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Genre | |
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Structure | |
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The Components of a Play | |
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The Order of a Play | |
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The Past | |
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The Greeks | |
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The Greek Theatre | |
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The Greek Plays | |
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The Three Greek Tragedians | |
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The Roman Theatre | |
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The Middle Ages | |
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The Quem Queritis: From Trope to DramaOut of the Church | |
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The Corpus Christi Plays at York | |
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The Shakespearean Era | |
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The Renaissance | |
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Shakespeare | |
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The Theatres | |
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The Players | |
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The Plays | |
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The Plays of Shakespeare | |
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Italy: The Commedia Dell''Arte | |
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The Theatre of Asia | |
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Theatre in Asia | |
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The Drama of India | |
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Sanskrit Dance--Theatre | |
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Kathakali | |
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Chinese Opera: Xiqu | |
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Xiqu''s Origins | |
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Staging of Xiqu | |
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The Drama of Japan | |
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No | |
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Kabuki | |
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The Royal Theatre | |
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A Theatre for Courts and Kings | |
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The Audiences | |
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The Dramaturgy | |
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Staging Practices | |
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The French Theatre | |
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The Royal Court and the Tennis Court | |
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The Public Theatre Audience | |
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Moliere | |
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England: The Restoration Theatre | |
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The Present | |
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The Modern Theatre: Realism | |
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Realism | |
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A Laboratory | |
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Pioneers of Realism | |
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Naturalism | |
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Anton Chekhov | |
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American Realism | |
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The Modern Theatre: Antirealism | |
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The Symbolist Beginnings | |
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The Era of "Isms" | |
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The Era of Stylization | |
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Early Isms and Stylizations: A Sampling of Six Plays | |
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The French Avant-Garde | |
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Intellectual Comedy: Man and Superman | |
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Expressionism: The Hairy Ape | |
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Theatricalism: Six Characters in Search of an Author | |
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Theatre of Cruelty: Jet of Blood | |
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Philosophical Melodrama: No Exit | |
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Postwar Absurdity and Alienation | |
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Theatre of the Absurd | |
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Theatre of Alienation | |
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Future Directions in Antirealistic Theatre | |
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The Musical Theatre | |
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The Development of the Broadway Musical: America''s Contribution | |
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The First Phase of the Golden Age: Musical Comedy | |
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The Second Phase of the Golden Age: Musical Drama | |
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The Contemporary Musical | |
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The Emergence of Choreographer-Directors | |
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European Musicals | |
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Mel Brooks The Producers | |
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Directions in the Modern Musical | |
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Theatre Today: What, Who, and Where? | |
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What''s Happening? | |
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The Modern and the Postmodern | |
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The Directions of Today''s Theatre | |
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A Theatre of Postmodern Experimenta Nonlinear Theatre | |
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A Theatre of the Senses | |
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An Open Theatre | |
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A Theatre of Ethnic Diversity | |
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A Theatre of Difference | |
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A Theatre of Nontraditional Casting | |
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A Dangerous Theatre | |
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A Theatre of Revival | |
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Who''s Doing Today''s Theatre? | |
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Robiert Wilson, Michael Counts, and Performance Art | |
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Dance Theatre and Dance Play | |
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Stomp, Blue Man Group, De La Guarda: Movement Art | |
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Solo Performance | |
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Two American Directors | |
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Four European Directors | |
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Theatre of Today: Where Can You Find It? | |
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BroadwayOff-Broadway and Off-Off-Broadway | |
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The Nonprofit Professional Theatre | |
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Shakespeare Festivals | |
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Summer and Dinner Theatres | |
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Amateur Theatre: Academic and Community | |
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International Theatre | |
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Conclusions on the Current Theatre | |
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The Practitioners | |
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The Actor | |
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What Is Acting? | |
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The Two Notions of Acting | |
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Virtuosity | |
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Magic | |
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Becoming an Actor | |
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The Actor''s Instrument | |
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The Actor''s Approach | |
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The Actor''s Routine | |
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The Audition | |
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The | |
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The Playwright | |
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We Are All Playwrights | |
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The Playwright''s Career | |
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Literary and Nonliterary Aspects of Playwriting | |
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Playwriting as Event Writing | |
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The Qualities of a Fine Play | |
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Credibility and Intrigue | |
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Speakability, Stageability, and Flow | |
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Richness | |
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Depth of Characterization | |
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Gravity and Pertinence | |
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Compression, Economy, and Intensity | |
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Celebration | |
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The Playwright''s Process | |
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Dialogue | |
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Conflict | |
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Structure | |
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The Playwright''s Rewards | |
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Contemporary American Playwrights | |
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Mar | |