| |
| |
| Features at a Glance | |
| |
| |
| Preface | |
| |
| |
| |
| Navigating the World of Theatre | |
| |
| |
| |
| Theatre: A Global Experience | |
| |
| |
| Theatrical Conventions and Culture | |
| |
| |
| Universals of the Theatre | |
| |
| |
| Tradition and Innovation | |
| |
| |
| Photo Essay Multiculturalism | |
| |
| |
| Theatre in Changing Times | |
| |
| |
| Key Ideas | |
| |
| |
| |
| The Audience: Partners in Performance | |
| |
| |
| The Audience and the Actor: The Invisible Bond | |
| |
| |
| The Audience Is a Community | |
| |
| |
| Audience Members Construct Meaning as Individuals | |
| |
| |
| Audience Members Choose Focus | |
| |
| |
| Conventions of Audience Response | |
| |
| |
| Audience Conventions in Western Theatre History | |
| |
| |
| Political Theatre: Moving the Audience to Action | |
| |
| |
| From Provocation to Mainstream: The Evolution of a Convention | |
| |
| |
| Meeting Theatre's Challenges | |
| |
| |
| Key Ideas | |
| |
| |
| |
| Encountering Traditions | |
| |
| |
| |
| Understanding Plays | |
| |
| |
| Storytelling and Cultural Tradition | |
| |
| |
| The Playwright Shapes the Story | |
| |
| |
| Dramatic Structure | |
| |
| |
| Dramatic Characters | |
| |
| |
| Dramatic Language | |
| |
| |
| Form and Innovation | |
| |
| |
| Key Ideas | |
| |
| |
| |
| The European Written Tradition and Its Genres | |
| |
| |
| Tragedy | |
| |
| |
| Comedy | |
| |
| |
| Tragicomedy | |
| |
| |
| Melodrama | |
| |
| |
| Genre Today | |
| |
| |
| Key Ideas | |
| |
| |
| |
| Performance Traditions: Legacy and Renewal | |
| |
| |
| Indian Sanskrit Theatre | |
| |
| |
| Mime and the Commedia dell' Arte Tradition | |
| |
| |
| Japanese Traditions | |
| |
| |
| Chinese Opera | |
| |
| |
| Carnival Tradition | |
| |
| |
| Puppet Traditions around the Globe | |
| |
| |
| Traditions Evolve | |
| |
| |
| Key Ideas | |
| |
| |
| |
| Alternative Paths to Performance | |
| |
| |
| Other Authors, Other Texts, Other Forms | |
| |
| |
| Creating through Improvisation | |
| |
| |
| The Performance Ensemble and Collaborative Creation | |
| |
| |
| Mime and Movement Theatre | |
| |
| |
| The Variety Entertainer | |
| |
| |
| The Storyteller | |
| |
| |
| The Journalist and Social Historian: Documentary Theatre | |
| |
| |
| Music and Dance Theatre | |
| |
| |
| The American Musical | |
| |
| |
| The Designer and the Theatre of Images | |
| |
| |
| The Diversity of Theatrical Forms | |
| |
| |
| Key Ideas | |
| |
| |
| |
| Shaping the Performance | |
| |
| |
| |
| The Actor: Theatre's Living Presence | |
| |
| |
| The Thrill of Simulation | |
| |
| |
| To Act Is Human | |
| |
| |
| The Universal Qualities of Acting in the Theatre | |
| |
| |
| What Does an Actor Do? | |
| |
| |
| The Actor's Dual Consciousness | |
| |
| |
| Acting Reflects Culture | |
| |
| |
| Acting Conventions in the European Tradition | |
| |
| |
| The Development of Actor Training | |
| |
| |
| The Acting Profession Today | |
| |
| |
| Acting in Performance Traditions | |
| |
| |
| Freedom within Constraint; Constraint within Freedom | |
| |
| |
| Key Ideas | |
| |
| |
| |
| The Director: The Invisible Presence | |
| |
| |
| Directors Mold the Theatrical Experience | |
| |
| |
| Directing, a Recent Art | |
| |
| |
| The Director's Process: A Multiplicity of Approaches | |
| |
| |
| The Director as Interpreter of a Dramatic Text | |
| |
| |
| The Director as Acting Guru | |
| |
| |
| The Director as Auteur | |
| |
| |
| The Director's Personal Qualities | |
| |
| |
| Key Ideas | |
| |
| |
| |
| Theatre Spaces and Environments: The Silent Character | |
| |
| |
| Space Creates Meaning | |
| |
| |
| Cultural Meanings of Theatre Spaces | |
| |
| |
| Theatre Spaces and Environments | |
| |
| |
| Traditional Theatre Spaces | |
| |
| |
| Flexible and Found Spaces | |
| |
| |
| The Actor in Space | |
| |
| |
| Key Ideas | |
| |
| |
| |
| Art and Technology: Design for the Theatre | |
| |
| |
| |
| Approaches to Design | |
| |
| |
| Design in Performance Traditions | |
| |
| |
| PHOTO ESSAY Clowns | |
| |
| |
| Western Design before the Interpretive Model | |
| |
| |
| Realistic Design | |
| |
| |
| PHOTO ESSAY Illusions of Reality | |
| |
| |
| Abstract Design | |
| |
| |
| PHOTO ESSAY Modernism in Design | |
| |
| |
| Contemporary Design: Collaboration and Evolution | |
| |
| |
| Key Ideas | |
| |
| |
| |
| Setting the Stage | |
| |
| |
| Goals of Set Design | |
| |
| |
| PHOTO ESSAY Designing the Character's World | |
| |
| |
| The Set Designer's Process: Collaboration, Discussion, Evolution | |
| |
| |
| Principles of Composition | |
| |
| |
| The Visual Elements of Set Design | |
| |
| |
| The Set Designer's Materials | |
| |
| |
| Key Ideas | |
| |
| |
| |
| Dressing the Character | |
| |
| |
| Costuming and the Actor | |
| |
| |
| Goals of Costume Design | |
| |
| |
| The Costume Designer's Process | |
| |
| |
| Principles of Composition | |
| |
| |
| Visual Elements of Costume Design | |
| |
| |
| The Costume Designer's Materials | |
| |
| |
| Key Ideas | |
| |
| |
| |
| Lighting and Sound Design | |
| |
| |
| Stage Lighting | |
| |
| |
| Goals of Stage Lighting | |
| |
| |
| The Lighting Designer's Process | |
| |
| |
| The Visual Elements of Light | |
| |
| |
| Composing with Light | |
| |
| |
| Conceiving a Design: Control and Flexibility | |
| |
| |
| The Lighting Designer's Tools | |
| |
| |
| Sound Design | |
| |
| |
| Sound Practices in the Past | |
| |
| |
| Goals of Sound Design | |
| |
| |
| The Sound Designer's Process | |
| |
| |
| The Sound Designer's Tools | |
| |
| |
| Key Ideas | |
| |
| |
| |
| Technology and Theatrical Innovation | |
| |
| |
| What Is Technology? | |
| |
| |
| The Impact of Technology | |
| |
| |
| Technology and Culture | |
| |
| |
| Competition with Other Media | |
| |
| |
| New Technologies in the Theatre Today | |
| |
| |
| Concerns about Theatre and Technology | |
| |
| |
| Key Ideas | |
| |
| |
| |
| Understanding Today's Theatre | |
| |
| |
| |
| The Critical Response | |
| |
| |
| Criticism and Culture | |
| |
| |
| The Many Faces of the Critic | |
| |
| |
| The Dramaturg | |
| |
| |
| The Reviewer | |
| |
| |
| Experiencing Theatre as a Critic | |
| |
| |
| Writing a Review | |
| |
| |
| Key Ideas | |
| |
| |
| |
| Making Theatre Happen | |
| |
| |
| Where Theatre Happens | |
| |
| |
| Commercial and Not-for-Profit Theatre in the United States | |
| |
| |
| Producing Theatre | |
| |
| |
| Behind the Scenes: The Unsung Heroes of the Theatre | |
| |
| |
| Methods of Collaboration | |
| |
| |
| Closing the Show | |
| |
| |
| Key Ideas | |
| |
| |
| Glossary | |
| |
| |
| Bibliography | |
| |
| |
| Index | |