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Preface | vii | |
Introduction | 1 | |
Part 1 | The Theatre: Its Elements | 7 |
Chapter 1 | What Is the Theatre? | 9 |
The Theatre Building | 10 | |
The Company, or Troupe, of Players | 12 | |
The Occupation of Theatre | 13 | |
Work | 14 | |
Art | 17 | |
Impersonation | 17 | |
Performance | 21 | |
Chapter 2 | What Is a Play? | 29 |
Classifying Plays | 30 | |
Duration | 30 | |
Genre | 31 | |
Structure | 40 | |
The Components of a Play | 40 | |
The Order of a Play | 45 | |
Part 2 | The Past | 55 |
Chapter 3 | The Greeks | 59 |
The Greek Theatre | 59 | |
Origins and Evolution | 61 | |
The Birth of the Dithyramb | 62 | |
The Classic Period | 65 | |
The Theatron | 68 | |
The Spectacle | 70 | |
The Greek Plays | 73 | |
The Three Greek Tragedians | 75 | |
Prometheus Bound | 75 | |
Oedipus Tyrannos | 83 | |
The Roman Theatre | 91 | |
Chapter 4 | The Middle Ages | 95 |
The Quem Queritis: From Trope to Drama | 97 | |
Out of the Church | 99 | |
The Corpus Christi Plays at York | 101 | |
The York Cycle | 106 | |
The Creation and the Fall of Lucifer | 106 | |
Man's Disobedience and Fall | 111 | |
Chapter 5 | The Shakespearean Era | 115 |
The Renaissance | 115 | |
Shakespeare | 116 | |
The Theatres | 118 | |
The Players | 124 | |
The Plays | 127 | |
The Plays of Shakespeare | 131 | |
Romeo and Juliet | 131 | |
Italy: The Commedia Dell'Arte | 148 | |
Chapter 6 | The Theatre of Asia | 151 |
Theatre in Asia | 152 | |
The Drama of India | 154 | |
Sanskrit Dance-Theatre | 155 | |
Kathakali | 155 | |
Chinese Opera: Xiqu | 157 | |
Xiqu's Origins | 157 | |
Staging of Xiqu | 158 | |
The Drama of Japan | 163 | |
No | 163 | |
Kabuki | 166 | |
Chapter 7 | The Royal Theatre | 177 |
A Theatre for Courts and Kings | 178 | |
The Audiences | 181 | |
The Dramaturgy | 181 | |
Staging Practices | 182 | |
The French Theatre | 183 | |
The Royal Court and the Tennis Court | 183 | |
The Public Theatre Audience | 184 | |
Moliere | 186 | |
The Bourgeois Gentleman | 188 | |
England: The Restoration Theatre | 202 | |
The Way of the World | 204 | |
Part 3 | The Present | 207 |
Chapter 8 | The Modern Theatre: Realism | 211 |
Realism | 213 | |
A Laboratory | 214 | |
Pioneers of Realism | 216 | |
Naturalism | 218 | |
Anton Chekhov | 221 | |
The Three Sisters | 222 | |
American Realism | 235 | |
Chapter 9 | The Modern Theatre: Antirealism | 237 |
The Symbolist Beginnings | 237 | |
The Era of "Isms" | 240 | |
The Era of Stylization | 241 | |
Early Isms and Stylizations: A Sampling of Six Plays | 243 | |
The French Avant-Garde: Ubu Roi | 243 | |
Intellectual Comedy: Man and Superman | 245 | |
Expressionism: The Hairy Ape | 247 | |
Theatricalism: Six Characters in Search of an Author | 250 | |
Theatre of Cruelty: Jet of Blood | 251 | |
Philosophical Melodrama: No Exit | 253 | |
Postwar Absurdity and Alienation | 255 | |
Theatre of the Absurd | 255 | |
Samuel Beckett | 256 | |
Happy Days | 260 | |
Theatre of Alienation | 269 | |
Bertolt Brecht | 269 | |
Future Directions in Antirealistic Theatre | 272 | |
Chapter 10 | The Musical Theatre | 275 |
The Development of the Broadway Musical: America's Contribution | 277 | |
The First Phase of the Golden Age: Musical Comedy | 278 | |
The Second Phase of the Golden Age: Musical Drama | 279 | |
The Modern Musical | 281 | |
Stephen Sondheim | 281 | |
The Modern Musical: 1960s to 2000 and Beyond | 284 | |
Chapter 11 | Theatre Today: What, Who, and Where? | 291 |
What's Happening? | 291 | |
The Modern and the Postmodern | 292 | |
The Crisis of Today's Theatre | 293 | |
A Theatre of Revival | 293 | |
A Theatre of Postmodern Experiment | 295 | |
An Open Theatre | 299 | |
Who's Doing It? | 310 | |
Pina Bausch and Martha Clarke: Dance-Theatre | 311 | |
Eric Bogosian, Spaulding Gray, John Leguizamo, Sherry Glaser, and Anna Deveare Smith: The One-Person Show | 312 | |
Ariane Mnouchkine: Theatre de Soleil | 314 | |
Julie Taymor: Making the Avant-Garde Commercial | 316 | |
Robert Wilson and Performance Art | 318 | |
Peter Brook: Intercultural Theatre | 321 | |
Where Is It Happening? | 324 | |
Broadway | 324 | |
Off-Broadway and Off-Off-Broadway | 326 | |
The Nonprofit Professional Theatre | 327 | |
Shakespeare Festivals | 336 | |
Summer and Dinner Theatres | 338 | |
Amateur Theatre: Academic and Community | 338 | |
Theatre Abroad | 340 | |
Conclusions on the Current Theatre? | 352 | |
Part 4 | The Practitioners | 353 |
Chapter 12 | The Actor | 355 |
What Is Acting? | 356 | |
The Two Notions of Acting | 356 | |
Virtuosity | 362 | |
Magic | 365 | |
Becoming an Actor | 365 | |
The Actor's Instrument | 365 | |
The Actor's Approach | 371 | |
The Actor's Routine | 373 | |
The Audition | 373 | |
The Rehearsal | 373 | |
The Performance | 376 | |
The Actor in Life | 379 | |
Chapter 13 | The Playwright | 381 |
We Are All Playwrights | 382 | |
The Playwright's Career | 383 | |
Literary and Nonliterary Aspects of Playwriting | 384 | |
Playwriting as Event Writing | 385 | |
The Qualities of a Fine Play | 386 | |
Credibility and Intrigue | 386 | |
Speakability, Stageability, and Flow | 390 | |
Richness | 391 | |
Gravity and Pertinence | 393 | |
Compression, Economy, and Intensity | 394 | |
Celebration | 396 | |
The Playwright's Process | 396 | |
Dialogue | 397 | |
Conflict | 397 | |
Structure | 398 | |
The Playwright's Rewards | 398 | |
Contemporary American Playwrights | 399 | |
August Wilson | 399 | |
Arthur Miller | 400 | |
Neil Simon | 400 | |
Edward Albee | 402 | |
Lanford Wilson | 402 | |
John Guare | 403 | |
Terrence McNally | 404 | |
Sam Shepard | 404 | |
David Mamet | 405 | |
Wendy Wasserstein | 405 | |
Paula Vogel | 406 | |
Beth Henley | 408 | |
George C. Wolfe | 408 | |
Tony Kushner | 408 | |
David Henry Hwang | 410 | |
Chapter 14 | Designers and Technicians | 411 |
Theatre Architecture | 412 | |
Staging Formats | 413 | |
Other Architectural Considerations | 416 | |
Scenery | 417 | |
Scenic Materials | 423 | |
The Scene Designer at Work | 427 | |
Lighting | 427 | |
Photo Essay: Broadway Designer Tony Walton | 428 | |
Modern Lighting Design | 432 | |
The Lighting Designer at Work | 434 | |
Costume | 436 | |
The Functions of Costume | 436 | |
The Costume Designer at Work | 439 | |
Photo Essay: Broadway Designer Patricia Zipprodt | 442 | |
Makeup | 445 | |
Sound Design | 448 | |
Special Effects | 449 | |
New Computer Technologies in Theatre Design | 449 | |
Technical Production | 451 | |
Chapter 15 | The Director | 455 |
The Arrival of the Director: A Historical Overview | 457 | |
Phase 1 | The Teacher-Directors | 457 |
Phase 2 | The Realistic Directors | 457 |
Phase 3 | The Stylizing Directors | 458 |
The Contemporary Director | 460 | |
Directorial Functions | 460 | |
Producer and Director | 460 | |
Directorial Vision | 461 | |
Preparatory Phase | 461 | |
Photo Essay: Making Theatre--A Play Is Put Together | 466 | |
Implementation Phase | 485 | |
The Training of a Director | 493 | |
Chapter 16 | The Critic | 495 |
Critical Perspectives | 496 | |
A Play's Relation to Society | 496 | |
A Play's Relation to the Individual | 497 | |
A Play's Relation to Art | 497 | |
A Play's Relation to Theatre | 499 | |
A Play as Entertainment | 500 | |
Critical Focus | 501 | |
Professional Criticism | 501 | |
Student Criticism | 506 | |
We Are the Critics | 506 | |
Appendix | Writing on Theatre | 1 |
Glossary | 1 | |
Selected Bibliography | 1 | |
Credits | 1 | |
Index | 1 |
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Add Theatre, This brief version of Cohen's best-selling text uses equal measures of appreciation of theatrical arts and descriptions of the collaborative theatrical crafts to introduce students to the performance of drama. The author's enthusiasm for and knowledge of , Theatre to the inventory that you are selling on WonderClubX
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Add Theatre, This brief version of Cohen's best-selling text uses equal measures of appreciation of theatrical arts and descriptions of the collaborative theatrical crafts to introduce students to the performance of drama. The author's enthusiasm for and knowledge of , Theatre to your collection on WonderClub |