| |
| |
| Preface | |
| |
| |
| Introduction | |
| |
| |
| |
| The Theatre: Its Elements | |
| |
| |
| |
| What Is the Theatre? | |
| |
| |
| The Theatre Building | |
| |
| |
| The Company, or Troupe, of Players | |
| |
| |
| The Occupation of Theatre | |
| |
| |
| Work | |
| |
| |
| Art | |
| |
| |
| Impersonation | |
| |
| |
| Performance | |
| |
| |
| Live Performance | |
| |
| |
| Scripted and Rehearsed Performance | |
| |
| |
| |
| What Is a Play? | |
| |
| |
| Classifying Plays | |
| |
| |
| Duration | |
| |
| |
| Genre | |
| |
| |
| Tragedy | |
| |
| |
| Comedy and Other Genres | |
| |
| |
| Dramaturgy: The Construction of Drama and Dramatic Performance | |
| |
| |
| Drama’s Components: The Vertical Axis | |
| |
| |
| Plot | |
| |
| |
| Characters | |
| |
| |
| Theme | |
| |
| |
| Diction | |
| |
| |
| Music | |
| |
| |
| Spectacle | |
| |
| |
| Conventions | |
| |
| |
| Drama's Timeline: The Horizontal Axis | |
| |
| |
| Preplay | |
| |
| |
| Play | |
| |
| |
| Postplay | |
| |
| |
| Non-Aristotelian Theatre Events | |
| |
| |
| |
| The Past | |
| |
| |
| |
| The Ancients | |
| |
| |
| Ritual | |
| |
| |
| Storytelling | |
| |
| |
| Shamanism, Trance, and Magic | |
| |
| |
| The Beginnings of Traditional Drama | |
| |
| |
| Traditional Drama in Sub-Saharan Africa | |
| |
| |
| Nigerian Masquerade | |
| |
| |
| Egyptian Drama | |
| |
| |
| The Greek Theatre | |
| |
| |
| Origins and Evolution | |
| |
| |
| The Birth of the Dithyramb | |
| |
| |
| The Classic Period | |
| |
| |
| The Theatron | |
| |
| |
| The Spectacle | |
| |
| |
| The City Dionysia | |
| |
| |
| The Greek Plays | |
| |
| |
| Prometheus Bound | |
| |
| |
| Oedipus Tyrannos | |
| |
| |
| The Roman Theatre | |
| |
| |
| |
| The Middle Ages | |
| |
| |
| The Quem Queritis: From Trope to Drama | |
| |
| |
| Out of the Church | |
| |
| |
| The Corpus Christi Plays at York | |
| |
| |
| The York Cycle | |
| |
| |
| Medieval Morality Plays | |
| |
| |
| |
| The Renaissance | |
| |
| |
| The Shakespearean Era | |
| |
| |
| The Theatres | |
| |
| |
| The Players | |
| |
| |
| The Plays | |
| |
| |
| The Plays of Shakespeare | |
| |
| |
| Romeo and Juliet | |
| |
| |
| Renaissance Theatre in Italy and Spain | |
| |
| |
| Italy: Machiaveli and the Commedia dell'Arte | |
| |
| |
| Spain's Golden Age | |
| |
| |
| |
| The Theatre of Asia | |
| |
| |
| Theatre in Asia | |
| |
| |
| The Drama of IndiaSanskrit Dance-TheatreKathakali | |
| |
| |
| Chinese Opera: XiquXiqu’s OriginsStaging of Xiqu | |
| |
| |
| The Drama of Japan | |
| |
| |
| No | |
| |
| |
| Kabuki | |
| |
| |
| Kabuki's Origins | |
| |
| |
| Visualizing Kabuki | |
| |
| |
| Kabuki Plays | |
| |
| |
| Kabuki Theatres | |
| |
| |
| Kabuki Scenery | |
| |
| |
| Kabuki Music | |
| |
| |
| Kabuki Actor Families | |
| |
| |
| Kabuki Acting Style | |
| |
| |
| Kabuki Costumes and Wigs | |
| |
| |
| Kabuki Actor-Training and Rehearsals | |
| |
| |
| Kabuki Actors' Assistants | |
| |
| |
| Kabuki Acting Moments | |
| |
| |
| The Kabuki Audience | |
| |
| |
| Kabuki and Artistic Creativity | |
| |
| |
| Kabuki Today | |
| |
| |
| Bunraku: Japan's Puppet Theatre | |
| |
| |
| Asian Theatre Today | |
| |
| |
| |
| The Royal Era | |
| |
| |
| A Theatre for Courts and Kings | |
| |
| |
| Dramaturgy | |
| |
| |
| Staging Practices | |
| |
| |
| The French Theatre | |
| |
| |
| The Royal Court and the Tennis Court | |
| |
| |
| The Public Theatre Audience | |
| |
| |
| Moli�re | |
| |
| |
| The Bourgeois Gentleman | |
| |
| |
| England: The Restoration Theatre | |
| |
| |
| The Rover | |
| |
| |
| |
| The Modern and the Now | |
| |
| |
| |
| The Modern Theatre: Realism | |
| |
| |
| Romantic Beginnings | |
| |
| |
| Realism: Likeness to Life | |
| |
| |
| A Laboratory | |
| |
| |
| Henrik Ibsen: The Pioneer of Realism | |
| |
| |
| A Doll's House | |
| |
| |
| The Spread of Realism | |
| |
| |
| Naturalism | |
| |
| |
| Anton Chekhov: The High Point of Realism | |
| |
| |
| The Three Sisters | |
| |
| |
| American Realism | |
| |
| |
| Eugene O’Neill | |
| |
| |
| Clifford Odets | |
| |
| |
| Arthur Miller | |
| |
| |
| Tennessee Williams | |
| |
| |
| August Wilson | |
| |
| |
| Realism and the American Cinema | |
| |
| |
| |
| The Modern Theatre: Antirealism | |
| |
| |
| Symbolist Beginnings | |
| |
| |
| The Era of "Isms" | |
| |
| |
| Early Isms and Stylizations: A Sampling of Five Plays | |
| |
| |
| The French Avant-Garde: Ubu Roi | |
| |
| |
| Intellectual Comedy: Man and Superman | |
| |
| |
| Expressionism: The Hairy Ape | |
| |
| |
| Metatheatre: Six Characters in Search of an Author | |
| |
| |
| Theatre of Cruelty: Jet of Blood | |
| |
| |
| Postwar Alienation and Absurdity | |
| |
| |
| Theatre of Alienation: Bertolt Brecht | |
| |
| |
| Theatre of the Absurd: Samuel Beckett | |
| |
| |
| Happy Days | |
| |
| |
| Future Directions in Antirealistic Theatre | |
| |
| |
| |
| The Musical Theatre | |
| |
| |
| The Role of Music in Theatre History | |
| |
| |
| The Development of the Broadway Musical: America's Contribution | |
| |
| |
| Musical Comedy: Gershwin, Kern, Darktown Follies, and Rodgers and Hart | |
| |
| |
| A Golden Age | |
| |
| |
| The Contemporary Musical | |
| |
| |
| The Emergence of Choreographer-Directors | |
| |
| |
| Stephen Sondheim | |
| |
| |
| Black Musicals | |
| |
| |
| Foreign Invasions: British, French, Swedish, and Disney | |
| |
| |
| Musicals of the Twenty-first Century | |
| |
| |
| |
| Theatre Today | |
| |
| |
| What's Happening? | |
| |
| |
| A Theatre of Postmodern Experiment | |
| |
| |
| A Nonlinear Theatre | |
| |
| |
| An Open Theatre | |
| |
| |
| A Diverse Theatre | |
| |
| |
| Photo Essay: Theatre in the Borderlands | |
| |
| |
| A Global Theatre | |
| |
| |
| A Macaronic Theatre | |
| |
| |
| A Theatre of Difference | |
| |
| |
| A Theatre of Nontraditional Casting | |
| |
| |
| Spectacular Theatre | |
| |
| |
| Verbatim Theatre | |
| |
| |
| A Dangerous Theatre | |
| |
| |
| A Theatre of Community | |
| |
| |
| Movement Art and Dance-Theatre | |
| |
| |
| Solo Performance | |
| |
| |
| Three Theatre-Makers in the Theatre Today | |
| |
| |
| Peter Brook | |
| |
| |
| Robert Wilson | |
| |
| |
| Julie Taymor | |
| |
| |
| Theatre Today: Where Can You Find It? | |
| |
| |
| New York City | |
| |
| |
| Broadway | |
| |
| |
| Off-Broadway and Off-Off-Broadway | |
| |
| |
| Regional American Theatre: Not for Profit | |
| |
| |
| Boston | |
| |
| |
| Chicago | |
| |
| |
| Los Angeles | |
| |
| |
| Minneapolis | |
| |
| |
| Seattle | |
| |
| |
| Washington, D.C. | |
| |
| |
| Shakespeare Festivals | |
| |
| |
| Summer and Dinner Theatres | |
| |
| |
| Amateur Theatre: Academic and Community | |
| |
| |
| International Theatre | |
| |
| |
| Beyond North America | |
| |
| |
| Conclusions about Theatre Today? | |
| |
| |
| |
| The Practioners | |
| |
| |
| |
| The Actor | |
| |
| |
| What Is Acting? | |
| |
| |
| The Paradox of Acting - from Socrates to Stanislavsky | |
| |
| |
| Acting Today | |
| |
| |
| Acting from the Inside: The Stanislavsky Legacy | |
| |
| |
| Emotion Memory | |
| |
| |
| Acting from the Outside | |
| |
| |
| The Actor as Virtuoso | |
| |
| |
| Putting It Together | |
| |
| |
| Magic | |
| |
| |
| Becoming an Actor | |
| |
| |
| The Approach | |
| |
| |
| The Actor's Instrument | |
| |
| |
| Voice and Speech | |
| |
| |
| The Psychological Instrument | |
| |
| |
| Photo Essay: Actor Patrick Stewart | |
| |
| |
| Movement | |
| |
| |
| Discipline | |
| |
| |
| The Actor's Routine | |
| |
| |
| Audition | |
| |
| |
| Rehearsal | |
| |
| |
| Performance | |
| |
| |
| The Actor in Life | |
| |
| |
| |
| The Playwright | |
| |
| |
| We Are All Playwrights | |
| |
| |
| Literary and Nonliterary Aspects of Playwrighting | |
| |
| |
| Playwrighting as Event Writing | |
| |
| |
| The Qualities of a Fine Play | |
| |
| |
| Credibility and Intrigue | |
| |
| |
| Speakability, Stageability, and Flow | |
| |
| |
| Richness | |
| |
| |
| Depth of Characterization | |
| |
| |
| Gravity and Pertinence | |
| |
| |
| Compression, Economy, and Intensity | |
| |
| |
| Celebration | |
| |
| |
| The Playwright's Process | |
| |
| |
| Dialogue | |
| |
| |
| Conflict | |
| |
| |
| Structure | |
| |
| |
| The Playwright's Rewards | |
| |
| |
| A Sampling of Current American Playwrights | |
| |
| |
| David Mamet | |
| |
| |
| Tony Kushner | |
| |
| |
| David Henry Hwang | |
| |
| |
| Neil LaBute | |
| |
| |
| Lynn Nottage | |
| |
| |
| Photo Essay: Playwright Neil LaBute | |
| |
| |
| |
| Designers and Technicians | |
| |
| |
| The Design Process | |
| |
| |
| What Design Does | |
| |
| |
| Scenery | |
| |
| |
| Scenic Materials | |
| |
| |
| The Scene Designer at Work | |
| |
| |
| Photo Essay: Scene Designer Tony Walton | |
| |
| |
| The Scene Designer at Work | |
| |
| |
| Lighting | |
| |
| |
| Modern Lighting Design | |
| |
| |
| The Lighting Designer at Work | |
| |
| |
| Photo Essay: Lighting Designer Don Holder | |
| |
| |
| Costumes | |
| |
| |
| The Functions of Costume | |
| |
| |
| The Costume Designer at Work | |
| |
| |
| Photo Essay: Costume Designer Catherine Zuber | |
| |
| |
| Makeup | |
| |
| |
| Sound Design | |
| |
| |
| Photo Essay: Sound Designer Scott Lehrer | |
| |
| |
| Projection Design | |
| |
| |
| Special Effects | |
| |
| |
| Digital Technologies in Theatre Design | |
| |
| |
| The Technical Production Team | |
| |
| |
| Photo Essay: Stage Manager Michael McGoff | |
| |
| |
| |
| The Director | |
| |
| |
| The Arrival of the Director: A Historical Overview | |
| |
| |
| Teacher-Directors | |
| |
| |
| Realistic Directors | |
| |
| |
| Stylizing Directors | |
| |
| |
| The Contemporary Director | |
| |
| |
| Photo Essay: Director Susan Stroman | |
| |
| |
| Director and Producer | |
| |
| |
| Vision and Leadership | |
| |
| |
| Play Selection | |
| |
| |
| Conceptualizing | |
| |
| |
| Designer Selection | |
| |
| |
| Director-Designer Collaboration | |
| |
| |
| Photo Essay: The School for Wives | |
| |
| |
| Casting | |
| |
| |
| Implementation | |
| |
| |
| Staging | |
| |
| |
| Actor-Coaching | |
| |
| |
| Pacing | |
| |
| |
| Coordinating | |
| |
| |
| Presenting | |
| |
| |
| The Training of a Director | |
| |
| |
| |
| The Critic and the Dramaturg | |
| |
| |
| Critical and Dramaturgical Perspectives | |
| |
| |
| Social Significance | |
| |
| |
| Human Significance | |
| |
| |
| Artistic Quality | |
| |
| |
| Relationship to the Theatre Itself | |
| |
| |
| Entertainment Value | |
| |
| |
| Critical and Dramaturgical Focus | |
| |
| |
| Professional Criticism | |
| |
| |
| Professional Dramaturgy | |
| |
| |
| Student Criticism and Dramaturgy | |
| |
| |
| We Are the Critics | |
| |
| |
| Glossary | |
| |
| |
| Selected Bibliography | |
| |
| |
| Credits | |
| |
| |
| Index | |