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| Introduction: Drama, Theater, and Culture | |
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| Reading Drama and Seeing Theater | |
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| Drama and Theater in History | |
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| Dramatic Genres | |
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| Dramatic Form | |
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| The Stage in Critical Practice | |
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| Reading the Material Theatre | |
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| Classical Athens | |
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| Aside: Roman Drama and Theater | |
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| Reading the Material Theater: Pronomos Painter | |
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| Aeschylus, The Orestia | |
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| Sophocles, Oedipus the King | |
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| Euripides, Medea | |
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| Aristophanes, Lysistrata | |
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| Critical Contexts: Aristotle, from The Poetics | |
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| Critical Perspectives: Sue-Ellen Case, from Classic Drag: the Greek Creation of Female Parts | |
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| Classical Japan | |
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| Aside: Sanskrit Drama and Theater | |
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| Reading the Material Theater: A Portrait of Seki Sanjuro II | |
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| Kan'ami Kiyotsugu, Matsukaze | |
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| Nakamura Matagoro II and James R | |
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| Brandon, adaptors, Chushingura: The Forty-Seven Samurai | |
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| Critical Contexts: Zeami Motokiyo, from A Mirror Held to the Flower | |
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| Critical Perspectives: Graham Ley, Aristotle's Poetics, Bharatamuni's Natyasastra, and Zeami's Treatises: Theory as Discourse | |
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| Medieval And Renaissance England | |
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| Aside: The Jacobean Court Masque | |
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| Reading the Material Theater: Titus Andronicus title page | |
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| Anonymous, The Wakefield Second Shepherds' Pageant | |
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| Anonymous, Everyman | |
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| Christopher Marlowe, Doctor Faustus | |
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| William Shakespeare, Hamlet | |
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| William Shakespeare, The Tempest | |
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| Critical Contexts: Sir Philip Sidney, from Apology for Poetry | |
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| Critical Perspectives: Phyllis Rackin, Misogyny is Everywhere | |
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| Early Modern Europe | |
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| Aside: Commedia Dell' Arte | |
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| Reading the Material Theater: Betterton's acting style | |
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| Pedro Calder?n de la Barca, Life Is a Dream | |
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| Moli?re, Tartuffe | |
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| Jean Racine, Phaedra | |
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| Aphra Behn, The Rover | |
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| Sor Juana In?s de la Cruz, Loa to The Divine Narcissus | |
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| Critical Contexts: John Dryden, Preface to Troilus and Cressida, Containing the Grounds of Criticism in Tragedy | |
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| Critical Perspectives: Katharine Eisaman Maus, from 'Playhouse Flesh and Blood': Sexual Ideology and the Restoration Actress | |
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| Modern Europe | |
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| Aside: Melodrama | |
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| Reading the Material Theater: Ibsen's Notes for the Modern Tragedy | |
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| Henrik Ibsen, A Doll's House | |
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| August Strindberg, Miss Julie | |
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| Oscar Wilde, The Importance of being Earnest | |
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| Anton Chekhov, The Cherry Orchard | |
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| Bernard Shaw, Major Barbara | |
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| Luigi Pirandello, Six Characters In Search of an Author | |
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| Bertolt Brecht, Mother Courage and Her Children | |
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| Jean Genet, The Balcony | |
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| Samuel Beckett, Endgame | |
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| Harold Pinter, The Homecoming | |
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| Heiner M?ller, Hamletmachine | |
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| Caryl Churchill, Cloud Nine | |
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| Sarah Kane, Blasted | |
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| David Hare, Stuff Happens | |
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| Critical Contexts: Friedrich Nietzsche, from The Birth of Tragedy | |
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| ?mile Zola, from Naturalism in the Theatre | |
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| Constantin Stanislavski, from "Direction and Acting" | |
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| Bertolt Brecht, "Theatre for Pleasure or Theatre for Instruction" | |
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| Antonin Artaud, from The Theater and Its Double | |
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| Augusto Boal, from Theater of the Oppressed | |
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| Critical Perspectives: Martin Esslin, from The Theatre of the Absurd | |
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| Fredric Jameson, from "Postmodernism and Consumer Society" | |
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| Una Chaudhuri, from Staging Place: The Geography of Modern Drama | |
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| The United States | |
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| Aside: The Federal Theater Project | |
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| Aside: Performance Art | |
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| Reading the Material Theater: "A Jury of Her Peers," by Susan Glaspell | |
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| Dion Boucicault, The Octoroon | |
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| Susan Glaspell, Trifles | |
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| Eugene O'Neill, The Hairy Ape | |
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| Tennessee Williams, The Glass Menagerie | |
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| *Arthur Miller, Death of a Salesman | |
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| Amiri Baraka/LeRoi Jones, Dutchman | |
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| Luis Valdez, Zoot Suit | |
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| Sam Shepard, True West | |
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| August Wilson, Fences | |
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| David Henry Hwang, M | |
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| Butterfly | |
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| Tony Kushner, Angels in America, | |
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| Milennium Approaches | |
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| Anna Deavere Smith, Fires In the Mirror: Crown Heights, Brooklyn, and Other Identities | |
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| Suzan-Lori Parks, Topdog/Underdog | |
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| Critical Contexts: Arthur Miller, Tragedy and the Common Man | |
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| Amiri Baraka/LeRoi Jones, "The Revolutionary Theatre" | |
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| Critical perspectives: August Wilson, The Ground on Which I Stand | |
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| Robert Brustein, Subsidized Separatism | |
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| World Stages | |
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| Aside: Intercultural Performance | |
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| Reading the Material Theater: Program Notes for Translations | |
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| Aim? C?saire, A Tempest | |
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| Griselda Gambaro, Information for Foreigners | |
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| Wole Soyinka, Death and the King's Horseman | |
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| Brian Friel, Translations | |
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| Athol Fugard, "Master Harold" | |
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| and the boys | |
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| Louis Nowra, The Golden Age | |
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| Gao Xingjian, The Other Shore | |
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| Vaclev Havel, Temptation | |
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| Tomson Highway, Dry Lips Oughta Move to Kapuskasing | |
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| Manjula Padmanabhan, Harvest | |
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| Vassily Sigarev, Black Milk | |
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| Critical Contexts: Frantz Fanon, from "The Fact of Blackness Critical Perspectives: Helen Gilbert and Joanne Tompkins, from Post-Colonial Drama | |
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| Glossary List of Illustrations and Photographs | |
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| Index | |