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| Preface | |
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| Foundations | |
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| The Nature of Theatre | |
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| The Basic Elements of Theatre | |
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| Theatre as a Form of Art | |
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| Special Qualities of Theatre | |
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| Art and Value | |
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| Additional Opportunities with InfoTrac College Edition | |
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| Performance, Audience, and Critic | |
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| Watching a Performance | |
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| Who Is the Audience? | |
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| The Audience and Critical Perspective | |
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| The Basic Problems of Criticism | |
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| Qualities Needed by the Critic | |
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| Additional Opportunities with InfoTrac College Edition | |
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| The Playscript | |
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| On Reading a Play | |
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| Dramatic Action | |
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| Methods of Organizing Dramatic Action | |
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| Plot | |
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| The Beginning | |
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| The Middle | |
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| The End | |
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| Character and Characterization | |
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| Thought | |
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| Diction | |
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| Music | |
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| Spectacle | |
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| Form in Drama | |
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| Tragedy | |
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| Comedy | |
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| Other Forms | |
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| Style in Drama | |
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| Additional Opportunities with InfoTrac College Edition | |
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| Varieties of Theatrical Experience | |
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| Festival Theatre: Greek, Roman, and Medieval Theatre Experiences | |
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| The Theatre of Ancient Greece | |
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| The Theatre of Dionysus | |
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| The Performers | |
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| Oedipus the King and Its Performance | |
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| Greek Comedy | |
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| The Roman Theatre Experience | |
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| The Roman Theatrical Context | |
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| The Menaechmi | |
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| Other Roman Drama and Theatre | |
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| The Revival of Drama in the Middle Ages | |
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| Trade Guilds and the Corpus Christi Festival | |
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| Conventions of Medieval Theatre | |
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| The Wakefield Cycle | |
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| Noah and His Sons | |
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| Other Medieval Theatre and Drama | |
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| Comparing Greek, Roman, and Medieval Theatre | |
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| Additional Opportunities with InfoTrac College Edition | |
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| Creating a Professional Theatre: Elizabethan England, Italian Commedia dell'Arte, and Seventeenth-Century France | |
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| Creating a Professional Theatre | |
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| Shakespeare and the Globe Theatre | |
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| Hamlet | |
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| The Theatre Experience in Renaissance Italy | |
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| Commedia dell'Arte | |
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| The Servant of Two Masters | |
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| The French Background | |
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| Moliere and Seventeenth-Century French Theatre Practice | |
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| Tartuffe | |
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| The Elizabethan, Italian, and French Traditions | |
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| Additional Opportunities with InfoTrac College Edition | |
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| From Romanticism to Realism | |
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| The Emergence of Romanticism | |
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| Melodrama | |
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| Monte Cristo | |
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| The Advent of Realism | |
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| Realism and Naturalism | |
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| A Doll's House | |
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| Zola and Naturalism | |
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| The Emergence of the Director | |
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| The Independent Theatre Movement | |
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| Additional Opportunities with InfoTrac College Edition | |
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| The Modernist Temperament: 1885-1940 | |
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| Symbolism | |
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| Appia, Craig, and Reinhardt | |
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| New Artistic Movements | |
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| "The Hairy Ape" | |
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| The Postwar Era | |
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| The Federal Theatre and the Group Theatre | |
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| Epic Theatre | |
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| The Good Woman of Setzuan | |
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| Artaud and the Theatre of Cruelty | |
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| Additional Opportunities with InfoTrac College Edition | |
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| Reevaluation, Decentralization, and Subsidization | |
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| Postwar American Theatre | |
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| Cat on a Hot Tin Roof | |
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| The Musical in Postwar America | |
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| Postwar Europe | |
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| Absurdism | |
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| Happy Days | |
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| Decentralization and Subsidization | |
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| The Postwar British Theatre | |
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| Off-Broadway and Off-Off-Broadway | |
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| Regional Theatres | |
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| Subsidization of the Arts in the United States | |
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| Broadway and Musicals after Subsidization | |
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| American Playwrights after 1960 | |
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| Additional Opportunities with InfoTrac College Edition | |
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| Contemporary Theatre and Its Diversity | |
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| Alternative Theatre Groups | |
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| Poor and Environmental Theatres | |
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| Multimedia, Happenings, and Performance Art | |
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| Postmodernism | |
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| Trends in Directing | |
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| Cultural Diversity | |
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| African American Theatre | |
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| Ma Rainey's Black Bottom | |
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| Latino Theatre | |
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| Roosters | |
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| Asian American Theatre | |
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| Native American Theatre | |
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| Theatre by and for Women | |
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| How I Learned to Drive | |
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| Gay and Lesbian Theatre | |
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| Additional Opportunities with InfoTrac College Edition | |
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| Asian and African Theatre | |
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| Theatre in Japan | |
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| Noh Theatre | |
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| The Shrine in the Fields (Nonomiya) | |
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| Other Japanese Theatre Forms | |
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| Theatre in Africa | |
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| Performance in Nigeria | |
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| The Strong Breed | |
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| Theatre Elsewhere in Africa | |
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| Epilogue | |
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| Additional Opportunities with InfoTrac College Edition | |
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| Theatrical Production | |
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| Theatrical Space and Production Design | |
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| The Influence of Theatrical Space | |
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| The Proscenium-Arch Stage | |
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| The Thrust Stage | |
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| The Arena Stage | |
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| Flexible Space | |
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| Auxiliary Spaces | |
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| Using the Theatrical Space | |
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| Collaborative Production Design | |
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| Additional Opportunities with InfoTrac College Edition | |
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| Playwriting and Dramaturgy | |
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| The Playwright | |
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| The Dramaturg | |
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| Dramaturgy and Literary Management | |
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| Production Dramaturgy | |
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| Additional Opportunities with InfoTrac College Edition | |
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| Directing and Producing | |
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| The Producer | |
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| The Director | |
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| Analyzing and Studying the Script | |
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| Approaches to Directing | |
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| The Director and the Designers | |
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| Auditions and Casting | |
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| Working with the Actors | |
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| The Director's Means | |
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| Stage Images | |
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| Movement, Gesture, and Business | |
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| Voice and Speech | |
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| Rehearsing the Play | |
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| The Director's Assistants | |
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| Thinking about the Director's Work | |
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| Additional Opportunities with InfoTrac College Edition | |
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| Acting | |
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| The Actor's Training and Means | |
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| The Actor's Instrument | |
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| Observation and Imagination | |
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| Concentration | |
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| Stage Vocabulary | |
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| Scene Study | |
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| From Training to Performing | |
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| Creating a Role | |
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| Psychological and Emotional Preparation | |
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| Movement, Gesture, and Business | |
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| Vocal Characterization | |
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| Memorization and Line Readings | |
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| Refining a Role | |
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| Dress Rehearsals and Performance | |
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| Thinking about the Actor's Work | |
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| Additional Opportunities with InfoTrac College Edition | |
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| Scene Design | |
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| The Functions of Scene Design | |
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| The Scene Designer's Skills | |
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| Working Plans and Procedures | |
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| Basic Scene Elements | |
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| Soft-Scenery Units | |
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| Framed Units | |
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| Three-Dimensional Units | |
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| Innovative Materials and Methods | |
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| Assembling and Painting Scenery | |
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| Shifting Scenery on Stage | |
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| Set Decoration and Properties | |
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| Technical Rehearsals, Dress Rehearsals, and Performances | |
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| The Scene Designer's Assistants and Coworkers | |
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| Thinking about the Scene Designer's Work | |
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| Additional Opportunities with InfoTrac College Edition | |
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| Costume Design and Makeup | |
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| The Functions of Costume Design | |
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| The Costume Designer's Skills | |
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| Working Plans and Procedures | |
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| Realizing the Designs | |
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| The Costume Designer and the Actor | |
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| Makeup | |
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| The Functions of Makeup | |
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| The Makeup Plot | |
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| Types of Makeup | |
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| Makeup Materials | |
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| The Costume Parade, Dress Rehearsals, and Performances | |
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| The Costume Designer's Assistants | |
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| Thinking about Costume and Makeup | |
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| Additional Opportunities with InfoTrac College Edition | |
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| Lighting and Sound Design | |
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| The Controllable Qualities of Light | |
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| The Functions of Stage Lighting | |
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| The Lighting Designer's Skills | |
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| The Lighting Designer's Working Procedures | |
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| Organizing the Distribution of Light | |
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| Setting the Lights, Rehearsals, and Performances | |
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| The Lighting Designer's Employment and Assistants | |
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| The Increasing Role of Sound Design | |
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| The Functions of Sound Design | |
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| The Sound Designer's Working Methods and Resources | |
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| Mixed-Media Productions | |
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| Thinking about Stage Lighting and Sound | |
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| Afterword | |
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| Additional Opportunities with InfoTrac College Edition | |
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| Glossary | |
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| Bibliography | |
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| Index | |