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Theatre Histories: An Introduction 3rd edition [Minkštas viršelis]

3.74/5 (102 ratings by Goodreads)
(University of Pittsburgh, USA), , , (University of California Los Angeles, USA)
  • Formatas: Paperback / softback, 632 pages, aukštis x plotis: 246x189 mm, weight: 1348 g, 173 Halftones, color
  • Išleidimo metai: 23-Feb-2016
  • Leidėjas: Routledge
  • ISBN-10: 0415837960
  • ISBN-13: 9780415837965
Kitos knygos pagal šią temą:
  • Formatas: Paperback / softback, 632 pages, aukštis x plotis: 246x189 mm, weight: 1348 g, 173 Halftones, color
  • Išleidimo metai: 23-Feb-2016
  • Leidėjas: Routledge
  • ISBN-10: 0415837960
  • ISBN-13: 9780415837965
Kitos knygos pagal šią temą:
This thoroughly revised and updated third edition of the innovative and widely acclaimed Theatre Histories: An Introduction offers a critical overview of global theatre and drama, spanning a broad wealth of world cultures and periods. Bringing together a group of scholars from a diverse range of backgrounds to add fresh perspectives on the history of global theatre, the book illustrates historiographical theories with case studies demonstrating various methods and interpretive approaches.

Subtly restructured sections place the chapters within new thematic contexts to offer a clear overview of each period, while a revised chapter structure offers accessibility for students and instructors. Further new features and key updates to this third edition include:











A dedicated chapter on historiography





New, up to date, case studies





Enhanced and reworked historical, cultural and political timelines, helping students to place each chapter within the historical context of the section





Pronunciation guidance, both in the text and as an online audio guide, to aid the reader in accessing and internalizing unfamiliar terminology





A new and updated companion website with further insights, activities and resources to enable students to further their knowledge and understanding of the theatre.

Recenzijos

"When the first edition of Theatre Histories appeared in 2006 it set a new standard in the field for breadth of geographical coverage, for exploring the inter-relation of theatre with social and cultural history, and for its in-depth presentation of historical methodology. The new third edition further excels in all of these areas as well as being tied to an excellent online supplement."

- Marvin Carlson, Distinguished Professor, The City University of New York

"The third edition is a bold reworking of an already revolutionary text. The major restructuring of the chapters, case studies, and theoretical frames give the text laser clarity and make it easier to integrate into the curriculum. The diverse range of case studies makes this text deeply engaging. The authors of this volume present us yet again with a brilliant and provocative examination of the study of theatre history with its ambitious range and innovative critique of the historical narrative. Through Theatre Histories, the third edition, McConachie, Nellhaus, Sorgenfrei, and Underiner strike that rare balance, simultaneously teaching the historical meta-narrative while interrogating and subverting the concept of metanarratives. The book provides a dynamic platform for students and instructors alike to engage thoughtfully with the history of the theatre."

- E.J. Westlake, Associate Professor of Theatre and English, University of Michigan

List of figures
xi
About the authors xvii
Preface to third edition xix
Acknowledgments xxiii
General introduction 1(16)
The goals of Theatre Histories
1(2)
Historiography: Thinking about history
3(7)
Theatre and the history of communication
10(3)
The structure of Theatre Histories
13(4)
PART I Performance in oral and manuscript cultures
17(1)
Part I timeline
18(125)
Introduction: Speech, writing, and performance
21(4)
1 From oral to literate performance
25(42)
Performance in oral cultures
27(6)
Case Study: Yoruba ritual as "play," and "contingency" in the ritual process
33(4)
Performance in oral cultures with writing
37(13)
Performance in a literate culture: Theatre in the city-state of Athens
50(16)
Summary
66(1)
2 Pleasure, power, and aesthetics: Theatre in early literate societies, 500 BCE--1450 CE
67(34)
Ancient Roman performance: From the Republic to the Empire
68(4)
Case Study: Plautus's plays: What's so funny?
72(9)
Drama and theatre in early India
81(9)
Early Japanese performance and the development of no
90(6)
Case Study: The no play Dojoji
96(4)
Summary
100(1)
3 Commemorative drama and carnival
101(42)
Carnival and the carnivalesque
102(3)
Commemorative performances
105(2)
Commemoration and the carnivalesque in the Jewish Purim shpil
107(1)
Commemorative performance in medieval Christian Europe
108(14)
Case Study: Christians and Moors: Medieval performance in Spain and the New World
122(4)
Islamic commemorative mourning dramas: The Ta'ziyeh of Iran and beyond
126(4)
Case Study: Playful gods: The Ramlila in north India
130(5)
Summary
135(8)
Part I Works cited
137(6)
PART II Theatre and performance in early print cultures
143(1)
Part II timeline
144(107)
Introduction: Performance, printing, and political centralization
147(4)
4 Secular and early professional theatre, 1250--1650
151(34)
Developments in Chinese drama, theatre, and performance
153(2)
Early secular performance in Europe
155(3)
The commedia dell'arte in Italy and its influence in Europe
158(3)
Urban growth and the new business of theatre in Europe
161(3)
The establishment of permanent theatre spaces
164(3)
The social occasion of theatre
167(2)
Increasing importance of women in theatre
169(3)
Popular Japanese theatre in a time of cultural seclusion
172(6)
Case Study: Realer than real? Imaging "woman" in kabuki
178(5)
Summary
183(2)
5 Theatre and the print revolution, 1550--1650
185(28)
Social and cultural upheavals in early modern Europe
185(4)
Elizabethan and Jacobean theatre in England, 1558--1642
189(4)
Case Study: Sexuality in Shakespeare's Twelfth Night
193(5)
Golden Age theatre in Spain, 1590--1650
198(3)
French theatre before the triumph of neoclassicism, 1550--1637
201(1)
Neoclassicism, print, and the controversy over Le Cid
202(2)
Scenic perspective in print and on stage
204(2)
Early print culture reaches a watershed
206(1)
Case Study: Early modern metatheatricality and the print revolution
207(4)
Summary
211(2)
6 Theatres of absolutism, 1600--1770
213(38)
The rise of absolutism
213(3)
Entertainments at court
216(4)
Case Study: Sor Juana Ines de la Cruz and the perils of print culture in New Spain
220(4)
Realizing absolutism in stage design
224(5)
Louis XIV and Moliere
229(1)
Case Study: Moliere and carnival laughter
230(4)
Absolutism and neoclassicism in France and England, 1660--1700
234(4)
Reforming Baroque opera
238(4)
Absolutism and neoclassicism in the German states and Russia, 1700--1770
242(1)
The limits of neoclassicism and absolutism in France, 1720--1770
243(3)
Summary
246(5)
Part II Works cited
247(4)
PART III Theatre and performance in periodical print cultures
251(1)
Part III timeline
252(145)
Introduction: Theatre for bourgeois civil society
256(5)
7 Theatre and sentiment: newspapers, private lives, and the bourgeois public sphere, 1700--1785
261(30)
Sentiment and periodical print culture
262(2)
Sentimental drama in England
264(2)
Pantomime, satire, and censorship in England
266(3)
Case Study: Censorship in eighteenth-century Japan
269(3)
Sentiment and satire on the continent
272(4)
Changes and challenges in sentimentalism
276(2)
Acting in the eighteenth century
278(2)
Case Study: Theatre iconology and the actor as icon: David Garrick
280(8)
Performers and the public
288(1)
Theorizing acting
288(2)
Summary
290(1)
8 Nationalism in the theatre, 1760--1880
291(34)
Print, theatre, and liberal nationalism, 1760--1800
292(33)
Case Study: Friedrich Schiller's vision of aesthetic education and the German dream of a national theatre
294(5)
The French Revolution, melodrama, and nationalism
299(4)
European cultural nationalisms, 1815--1848
303(4)
Nationalism in Russia and Italy, 1848--1880
307(2)
Wagner and racial nationalism in Germany, 1848---1880
309(4)
Liberal and racial nationalisms in the Americas
313(5)
Case Study: Imagining a white nation: Minstrelsy and U.S. nationalism, 1840--1870
318(5)
Summary
323(2)
9 Performing "progress": From imperial display to the triumph of realism and naturalism, 1790--1914
325(38)
Modern imperialisms
326(3)
Performing imperialism and Orientalism at the great expositions
329(2)
Distorting science to justify imperial entertainments
331(1)
Imperialism and Orientalism in British theatre
331(1)
Variety theatre and music hall
332(2)
"Internal imperialism" and the origins of jingju ("Beijing Opera")
334(1)
"Western artists appropriate non-Western imagery
335(1)
Case Study: Inventing Japan: The Mikado and Madama Butterfly
336(6)
New media and new ideologies: Photography, science, and positivism
342(1)
The rise of realist staging
343(4)
Naturalism on stage
347(3)
Realism and the rise of producer-directors
350(4)
Ibsen and Romantic idealism
354(1)
Chekhov undermines nineteenth-century theatre
355(1)
Ibsen, Chekhov, and the critique of photography
356(1)
Case Study: Ibsen's A Doll House: Problems in Ibsen's problem play
357(5)
Summary
362(1)
10 New media divide the theatres of print culture, 1870--1930
363(34)
Spectacular bodies on popular stages
364(2)
Case Study: Retailing glamor in the Ziegfeld Follies
366(5)
Print culture for stars and playwrights
371(3)
Audiophonic media after 1870
374(1)
The emergence of avant-garde theatre
374(2)
Symbolism and Aestheticism
376(4)
German Expressionism
380(2)
Case Study: Strindberg and "The Powers"
382(5)
Expressionism in the United States
387(2)
Institutionalizing the avant-garde
389(2)
Summary
391(6)
Part III Works cited
393(4)
PART IV Theatre and performance in electric and electronic communication culture
397(1)
Part IV timeline
398(191)
Introduction: Theatre and the unceasing communications revolutions
403(6)
11 New theatres for revolutionary times, 1910--1950
409(36)
War and the movies
409(4)
Revolutionary predecessors
413(4)
Theatricalizing the Russian Revolution
417(2)
Case Study: Lenin's Taylorism and Meyerhold's biomechanics
419(5)
Revolutionary theatres West and East
424(4)
Case Study: Brecht and the science of empathy
428(7)
Theatres of anti-imperialism, 1910--1950
435(2)
Theatrical modernism
437(1)
Yeats, Pirandello, and the modernist legacy
438(3)
Theatricalizing modernism
441(3)
Summary
444(1)
12 The aftermath of the Second World War: Realism and its discontents in an increasingly shrinking world, 1940--1970
445(32)
The impact of the Second World War on the victors and the defeated
447(10)
Postwar theatre and the Cold War
457(4)
Case Study: Cultural memories and audience response: A Streetcar Named Desire in the 1940s
461(6)
Case Study: Social drama in Kerala, India: Staging the "revolution"
467(5)
Happenings, protest, and the growth of alternative theatre in the U.S.
472(3)
Summary
475(2)
13 Art, politics, or business? Theatre in search of identity, 1968--2000
477(34)
The 1960s: A historical crossroads
478(2)
Theatre and electronic media
480(1)
Theatre, politics, and cultural change
480(3)
Case Study: Athol Fugard: Theatre of witnessing in South Africa
483(7)
Questioning the author(ity)
490(2)
Performance art
492(12)
The growth of non-commercial theatres
504(6)
Summary
510(1)
14 Theatres of local roots and global reach, 1970-present
511(38)
Local roots, global reach, hybrid play, and social change in "Shakespeare"
512(4)
Global theatre culture
516(6)
Theatres of cultural differentiation
522(7)
Theatre as a zone of contact
529(1)
Case Study: Imagining contemporary China
530(12)
The global reach of theatre for social change
542(5)
Summary
547(2)
15 Theatre in networked culture, 1990-present
549(40)
New players
551(4)
Case Study: Online role-playing games as theatre
555(6)
Changing platforms for theatre and performance
561(5)
New performance structures and processes
566(7)
Case Study: Hip Hop theatre
573(8)
Summary: Thinking through theatre histories
581(8)
Part IV Works cited
583(6)
Pronunciation guide 589(4)
Glossary 593(19)
Index 612
Tobin Nellhaus is an independent scholar and former Librarian for Performing Arts, Media and Philosophy at Yale University. He writes mainly on the relationship between theatre and communication practices, and on critical realism in theatre historiography.



Bruce McConachie is Chair of Theatre Arts at the University of Pittsburgh, where he also directs and performs. He has published widely in American theatre history, theatre historiography, and performance and cognitive studies, and is a former President of the American Society for Theatre Research. 



Carol Fisher Sorgenfrei is Professor Emerita of Theatre and Performance Studies and former Vice Chair for Graduate Programs at UCLA and former Research Fellow in the Institute for Theatre Studies at Berlin's Free University. She is a scholar, translator, playwright, and director focusing on Japanese and cross-cultural theatre.



Tamara Underiner is Associate Dean for Research for the Herberger Institute for Design and the Arts at Arizona State University, and director of the Ph.D. program in Theatre and Performance of the Americas.