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In this Section: | |
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Brief Table of Contents | |
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Full Table of Contents | |
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Brief Table of Contents | |
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Introduction: The Theatre of Many Times and Places | |
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Greek Theatre | |
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Roman Theatre 240 BCE - 550 CE | |
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Early Theatre of Asia 200 BCE - 1800 CE | |
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The European Middle Ages | |
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The Italian Renaissance | |
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The Golden Ages of England and Spain | |
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Neoclassicism: Triumph and Decline in France and England | |
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Melodrama and The Rise of Commercialism 1750 - 1900 | |
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Romanticism and Realism 1750 - 1900 | |
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Theatre in Africa | |
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Reactions to Commercialism and Realism 1900-1950 | |
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Musical Theatre | |
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Eclecticism: U.S. Theatre from 1950 | |
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European Theatre after 1950 | |
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Theatre in Asia from 1800 | |
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Globalization of Theatre | |
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Introduction: The Theatre of Many Times and Places | |
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The Past in the Present | |
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Theatre: A Definition | |
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Language And Its Problems | |
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Theatre-Like Activities | |
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Historical Evidence, Emphasis, and Omissions | |
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Organization | |
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Greek Theatre | |
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Objectives | |
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Context | |
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Theories of the Origins of Theatre | |
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Traits of Greek Theatre | |
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Plays and Playwrights | |
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Theatre Buildings and Practices | |
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The Hellenistic Period | |
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The Shift to Rome | |
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at a Glance | |
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Key Terms | |
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Captions | |
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The Play's the Thing: Sophocles' Oedipus Rex, 427 BCE | |
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The Story of the Play | |
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How We Know: Paintings on Greek Vases | |
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How We Know: Menander and The Grouch | |
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Roman Theatre 240 BCE - 550 CE | |
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Objectives | |
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Context | |
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Roman Festivals and Theatre of the Republic | |
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Tragedy and Comedy, Mostly Comedy | |
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Three Important Texts | |
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Theatre Buildings, Scenery, Costumes, and Masks | |
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Paratheatrical Entertainments | |
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Christian Opposition to Theatre | |
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The Breakup of the Empire | |
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The Eastern (Byzantine) Empire and Theatre | |
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at a Glance | |
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Key Terms | |
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Captions | |
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The Play's the Thing: Plautus's The Menaechmi | |
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The Story of the Play | |
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How We Know: Theatre in an Ordinary Roman Town | |
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Early Theatre of Asia 200 BCE - 1800 CE | |
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Objectives | |
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Context | |
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India | |
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China | |
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Japan | |
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Summary | |
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at a Glance | |
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Key Terms | |
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Captions | |
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The Play's the Thing: Shakuntala | |
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The Story of the Play | |
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The Play's the Thing: Li Xingdao's Chalk Circle | |
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The Story of the Play | |
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How We Know: Shakuntala's First Translation | |
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The Play's the Thing: The Peony Pavilion | |
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The Story of the Play | |
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The European Middle Ages | |
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Objectives | |
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Context | |
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Early Medieval Drama and Theatre: 476 to 1200 | |
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Production inside the Church | |
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Later Medieval Culture and Theatre, c. 1200-1550 | |
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Religious Drama outside the Church | |
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Staging Religious Plays outside the Church | |
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Secular Drama | |
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The End of Medieval Religious Theatre: The Transformation of Medieval Secular Theatre | |
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Summary | |
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at a Glance | |
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Key Terms | |
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Captions | |
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How We Know: Bishop Ethelwold's Stage Directions for the Quem Quaeritis Trope | |
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The Play's the Thing: The Second Shepherds' Play, Anonymous | |
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The Story of the Play | |
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How We Know: Pageant Wagons | |
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The Play's the Thing: Everyman, Anonymous, c. 1490 | |
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The Story of the Play | |
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How We Know: Oberammergau Passion Play | |
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The Italian Renaissance | |
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Objectives | |
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Context | |
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Theory: Neoclassicism | |
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Practice: Italian Renaissance Drama | |
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Illusionism | |
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Renaissance Theatre Structures | |
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Stage Settings for Illusionistic Theatre | |
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Contradiction in Mainstream Theatre | |
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An Alternative Theatre: Commedia dell'Arte | |
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Italy: Eclipse | |
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at a Glance | |
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Key Terms | |
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Captions | |
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How We Know: Commedia Scenarios | |
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Act One, Flavio's Good Fortune | |
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The Golden Ages of England and Spain | |
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Objectives | |
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Context | |
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England and the Golden Age | |
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Court Masques and New Conventions: Inigo Jones | |
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The Closing of English Theatres | |
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Spain in the Golden Age | |
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Summary | |
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at a Glance | |
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Key Terms | |
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Captions | |
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The Play's The Thing: Calderon de la Barca's Life is a Dream, 1635 | |
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The Story of the Play | |
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How We Know: The Swan Drawing | |
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How We Know: Philip Henslowe's Inventory | |
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How We Know: Three Public Theatres | |
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Neoclassicism: Triumph and Decline in France and England | |
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Objectives | |
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Context | |
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French Theatre through Its Golden Age | |
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English Restoration Theatre (1660-c. 1750) | |
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The Rise of Sentimentalism: 1700-1750 | |
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at a Glance | |
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Key Terms | |
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Captions | |
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How We Know: A Forgotten Theatre Recovered | |
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The Play's the Thing: Jean Racine's Ph�dre (Phaedra), 1677 | |
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The Story of the Play | |
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The Play's the Thing: Moli�re's Tartuffe, 1669 | |
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The Story of the Play | |
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Melodrama and The Rise of Commercialism 1750 - 1900 | |
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Objectives | |
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Context | |
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Theatre Becomes Commercial | |
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Theatre in Four Countries, circa 1700 to c 1850 | |
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Commercial Theatre Develops | |
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Actors, Managers | |
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From Actor-Managers to Producers | |
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Drama in the Commercial Theatre | |
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Melodrama in the Commercial Theatre | |
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Comedy in the Commercial Theatre | |
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Reactions to the Commercial Theatre | |
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at a Glance | |
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Key Terms | |
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How We Know: Early Theatre Photography | |
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Captions | |
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The Play's the Thing: Augustin Daly's Under the Gaslight, 1867 | |
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The Story of the Play | |
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Romanticism and Realism 1750 - 1900 | |
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Objectives | |
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Context | |
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Romanticism in the Theatre | |
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Romanticism in Germany, England, and France | |
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Romanticism Dwindles | |
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An Aftershock: Richard Wagner, a Romantic Artist, Flourishing 1842 to 1882 | |
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Reform After Romanticism: Realism and Naturalism, from circa 1850 | |
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Important Leaders of Realism and Naturalism | |
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Plays and Playwrights of Realism | |
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Summary | |
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at a Glance | |
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Key Terms | |
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Captions | |
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The Play's the Thing: Henrik Ibsen's A Doll's House, 1879 | |
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The Story of the Play | |
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Theatre in Africa | |
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Objectives | |
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Context | |
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Theatre in Northern Africa | |
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Theatre in Sub-Saharan Africa | |
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Summary | |
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Key Terms | |
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Captions | |
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Play's the Thing: Wole Soyinka, Death and the Kings Horseman, 1976 | |
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Story of the Play | |
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How We Know: Theatre in Ancient Egypt | |
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Reactions to Commercialism and Realism 1900-1950 | |
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Objectives | |
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Context | |
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Revolts Against Realism and Commercialism | |
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Two Influential Theorists Against Commercialism and Realism | |
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Important US Theatre Groups | |
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The Art Theatre Movement | |
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Playwrights, Sometimes Commercial, Sometimes Realistic | |
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Theatre under Occupation and Totalitarianism | |
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Commercial Theatre Declines | |
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Summary | |
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at a Glance | |
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Key Terms | |
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Captions | |
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The Play's the Thing: Antonin Artaud's Jet of Blood, 1924 | |
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Story of the Play: Eugene O'Neill's Long Day's Journey into Night, produced 1956 | |
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The Story of the Play | |
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Musical Theatre | |
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Objectives | |
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Context | |
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The American Musical Emerges | |
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Song Forms | |
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Musicals Since 1950 | |
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Summary | |
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at a Glance | |
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Key Terms | |
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Captions | |
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The Play's the Thing: Girl Crazy, 1930 | |
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The Story of the Musical | |
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How We Know: Preserving Musicals | |
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Eclecticism: U.S. Theatre from 1950 | |
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Objectives | |
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Context | |
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Theatre Becomes Eclectic: an Overview | |
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Professional Theatre | |
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Plays Since 1950 | |
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The Political Avant-Garde in Theatre | |
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The Artistic Avant-Garde in Theatre | |
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The Avant-garde Fades | |
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Identity Theatre Emerges | |
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Absurdism, Performance Art, and Postmodernism | |
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Theatrical Responses to 9/11 and New Wars | |
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The Cultural Displacement of Theatre | |
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The Play's the Thing: Tyler Perry and the Chitlin' Circuit | |
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How We Know: Theatre on Film and Tape Archive | |
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Key Terms | |
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Captions | |
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The Play's the Thing: August Wilson's Century of African American Life | |
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The Play's the Thing: Tennessee Williams's A Streetcar Named Desire, 1947 | |
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The Story of the Play | |
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The Play's the Thing: Paula Vogel's The Baltimore Waltz, 1992 | |
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The Story of the Play | |
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European Theatre after 1950 | |
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Objectives | |
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Context | |
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Germany | |
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Great Britian | |
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France | |
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Italy | |
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Poland | |
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European Theatre After World War II Had Wide Impact | |
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Summary | |
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Key Terms | |
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Captions | |
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The Play's the Thing: Caryl Churchill's Top Girls, 1982 | |
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The Story of the Play | |
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Theatre in Asia from 1800 | |
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Objectives | |
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Context | |
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India | |
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Chinese Theater after 1790 | |
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Later Japanese Theatre | |
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Summary | |
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Key Terms | |
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Captions | |
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The Play's the Thing: Tragore's The Post Office, 1924 | |
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Globalization of Theatre | |
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Objectives | |
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Context | |
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Musicals in Asia | |
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Other International Musical Successes | |
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Techniques and Styles | |
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Non-European Theatre in Western Countries | |
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Global Shakespeare | |
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Belarus Free Theatre | |
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Is Globalization Theatre's Destiny? | |
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Summary | |
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Key Terms | |
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Captions | |