List of figures |
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xi | |
About the authors |
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xvii | |
Preface to third edition |
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xix | |
Acknowledgments |
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xxiii | |
General introduction |
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1 | (16) |
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The goals of Theatre Histories |
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1 | (2) |
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Historiography: Thinking about history |
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3 | (7) |
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Theatre and the history of communication |
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10 | (3) |
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The structure of Theatre Histories |
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13 | (4) |
Part I Performance in oral and manuscript cultures |
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17 | (126) |
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18 | (3) |
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Introduction: Speech, writing, and performance |
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21 | (4) |
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1 From oral to literate performance |
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25 | (42) |
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Performance in oral cultures |
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27 | (10) |
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Case Study: Yoruba ritual as "play," and "contingency" in the ritual process |
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33 | (4) |
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Performance in oral cultures with writing |
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37 | (13) |
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Performance in a literate culture: Theatre in the city-state of Athens |
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50 | (16) |
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66 | (1) |
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2 Pleasure, power, and aesthetics: Theatre in early literate societies, 500 BCE-1450 CE |
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67 | (34) |
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Ancient Roman performance: From the Republic to the Empire |
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68 | (13) |
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Case Study: Plautus's plays: What's so funny? |
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72 | (9) |
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Drama and theatre in early India |
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81 | (9) |
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Early Japanese performance and the development of n5 |
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90 | (10) |
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Case Study: The no play Dojoji |
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96 | (4) |
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100 | (1) |
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3 Commemorative drama and carnival |
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101 | (36) |
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Carnival and the carnivalesque |
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102 | (3) |
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Commemorative performances |
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105 | (2) |
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Commemoration and the carnivalesque in the Jewish Purim shpil |
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107 | (1) |
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Commemorative performance in medieval Christian Europe |
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108 | (18) |
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Case Study: Christians and Moors: Medieval performance in Spain and the New World |
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122 | (4) |
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Islamic commemorative mourning dramas: The Ta'ziyeh of Iran and beyond |
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126 | (9) |
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Case Study: Playful gods: The Ramlila in north India |
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130 | (5) |
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135 | (2) |
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137 | (6) |
Part II Theatre and performance in early print cultures |
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143 | (108) |
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144 | (3) |
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Introduction: Performance, printing, and political centralization |
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147 | (4) |
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4 Secular and early professional theatre, 1250-1650 |
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151 | (34) |
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Developments in Chinese drama, theatre, and performance |
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153 | (2) |
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Early secular performance in Europe |
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155 | (3) |
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The commedia dell'arte in Italy and its influence in Europe |
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158 | (3) |
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Urban growth and the new business of theatre in Europe |
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161 | (3) |
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The establishment of permanent theatre spaces |
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164 | (3) |
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The social occasion of theatre |
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167 | (2) |
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Increasing importance of women in theatre |
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169 | (3) |
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Popular Japanese theatre in a time of cultural seclusion |
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172 | (11) |
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Case Study: Realer than real? Imaging "woman" in kabuki |
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178 | (5) |
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183 | (2) |
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5 Theatre and the print revolution, 1550-1650 |
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185 | (28) |
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Social and cultural upheavals in early modern Europe |
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185 | (4) |
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Elizabethan and Jacobean theatre in England, 1558-1642 |
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189 | (9) |
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Case Study: Sexuality in Shakespeare's Twelfth Night |
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193 | (5) |
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Golden Age theatre in Spain, 1590-1650 |
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198 | (3) |
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French theatre before the triumph of neoclassicism, 1550-1637 |
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201 | (1) |
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Neoclassicism, print, and the controversy over Le Cid |
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202 | (2) |
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Scenic perspective in print and on stage |
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204 | (2) |
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Early print culture reaches a watershed |
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206 | (5) |
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Case Study: Early modern metatheatricality and the print revolution |
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207 | (4) |
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211 | (2) |
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6 Theatres of absolutism, 1600-1770 |
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213 | (34) |
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213 | (3) |
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216 | (8) |
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Case Study: Sor Juana Ines de la Cruz and the perils of print culture in New Spain |
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220 | (4) |
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Realizing absolutism in stage design |
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224 | (5) |
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229 | (5) |
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Case Study: Moliere and carnival laughter |
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230 | (4) |
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Absolutism and neoclassicism in France and England, 1660-1700 |
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234 | (4) |
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238 | (4) |
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Absolutism and neoclassicism in the German states and Russia, 1700-1770 |
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242 | (1) |
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The limits of neoclassicism and absolutism in France, 1720-1770 |
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243 | (3) |
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246 | (1) |
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247 | (4) |
Part III Theatre and performance in periodical print cultures |
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251 | (146) |
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252 | (4) |
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Introduction: Theatre for bourgeois civil society |
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256 | (5) |
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7 Theatre and sentiment: newspapers, private lives, and the bourgeois public sphere, 1700-1785 |
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261 | (30) |
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Sentiment and periodical print culture |
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262 | (2) |
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Sentimental drama in England |
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264 | (2) |
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Pantomime, satire, and censorship in England |
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266 | (6) |
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Case Study: Censorship in eighteenth-century Japan |
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269 | (3) |
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Sentiment and satire on the continent |
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272 | (4) |
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Changes and challenges in sentimentalism |
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276 | (2) |
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Acting in the eighteenth century |
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278 | (10) |
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Case Study: Theatre iconology and the actor as icon: David Garrick |
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280 | (8) |
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Performers and the public |
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288 | (1) |
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288 | (2) |
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290 | (1) |
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8 Nationalism in the theatre, 1760-1880 |
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291 | (34) |
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Print, theatre, and liberal nationalism, 1760-1800 |
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292 | (7) |
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Case Study: Friedrich Schiller's vision of aesthetic education and the German dream of a national theatre |
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294 | (5) |
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The French Revolution, melodrama, and nationalism |
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299 | (4) |
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European cultural nationalisms, 1815-1848 |
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303 | (4) |
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Nationalism in Russia and Italy, 1848-1880 |
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307 | (2) |
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Wagner and racial nationalism in Germany, 1848-1880 |
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309 | (4) |
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Liberal and racial nationalisms in the Americas |
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313 | (10) |
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Case Study: Imagining a white nation: Minstrelsy and U.S. nationalism, 1840-1870 |
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318 | (5) |
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323 | (2) |
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9 Performing "progress": From imperial display to the triumph of realism and naturalism, 1790-1914 |
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325 | (38) |
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326 | (3) |
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Performing imperialism and Orientalism at the great expositions |
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329 | (2) |
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Distorting science to justify imperial entertainments |
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331 | (1) |
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Imperialism and Orientalism in British theatre |
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331 | (1) |
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Variety theatre and music hall |
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332 | (2) |
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"Internal imperialism" and the origins of jingju ("Beijing Opera") |
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334 | (1) |
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Western artists appropriate non-Western imagery |
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335 | (7) |
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Case Study: Inventing Japan: The Mikado and Madama Butterfly |
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336 | (6) |
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New media and new ideologies: Photography, science, and positivism |
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342 | (1) |
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The rise of realist staging |
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343 | (4) |
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347 | (3) |
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Realism and the rise of producer-directors |
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350 | (4) |
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Ibsen and Romantic idealism |
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354 | (1) |
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Chekhov undermines nineteenth-century theatre |
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355 | (1) |
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Ibsen, Chekhov, and the critique of photography |
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356 | (6) |
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Case Study: Ibsen's A Doll House: Problems in Ibsen's problem play |
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357 | (5) |
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362 | (1) |
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10 New media divide the theatres of print culture, 1870-1930 |
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363 | (30) |
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Spectacular bodies on popular stages |
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364 | (7) |
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Case Study: Retailing glamor in the Ziegfeld Follies |
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366 | (5) |
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Print culture for stars and playwrights |
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371 | (3) |
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Audiophonic media after 1870 |
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374 | (1) |
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The emergence of avant-garde theatre |
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374 | (2) |
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Symbolism and Aestheticism |
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376 | (4) |
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380 | (7) |
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Case Study: Strindberg and "The Powers" |
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382 | (5) |
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Expressionism in the United States |
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387 | (2) |
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Institutionalizing the avant-garde |
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389 | (2) |
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391 | (2) |
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393 | (4) |
Part IV Theatre and performance in electric and electronic communication culture |
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397 | (192) |
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398 | (5) |
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Introduction: Theatre and the unceasing communications revolutions |
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403 | (6) |
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11 New theatres for revolutionary times, 1910-1950 |
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409 | (36) |
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409 | (4) |
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Revolutionary predecessors |
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413 | (4) |
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Theatricalizing the Russian Revolution |
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417 | (7) |
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Case Study: Lenin's Taylorism and Meyerhold's biomechanics |
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419 | (5) |
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Revolutionary theatres West and East |
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424 | (11) |
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Case Study: Brecht and the science of empathy |
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428 | (7) |
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Theatres of anti-imperialism, 1910-1950 |
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435 | (2) |
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437 | (1) |
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Yeats, Pirandello, and the modernist legacy |
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438 | (3) |
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Theatricalizing modernism |
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441 | (3) |
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444 | (1) |
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12 The aftermath of the Second World War: Realism and its discontents in an increasingly shrinking world, 1940-1970 |
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445 | (32) |
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The impact of the Second World War on the victors and the defeated |
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447 | (10) |
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Postwar theatre and the Cold War |
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457 | (15) |
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Case Study: Cultural memories and audience response: A Streetcar Named Desire in the 1940s |
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461 | (6) |
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Case Study: Social drama in Kerala, India: Staging the "revolution" |
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467 | (5) |
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Happenings, protest, and the growth of alternative theatre in the U.S. |
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472 | (3) |
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475 | (2) |
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13 Art, politics, or business? Theatre in search of identity, 1968-2000 |
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477 | (34) |
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The 1960s: A historical crossroads |
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478 | (2) |
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Theatre and electronic media |
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480 | (1) |
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Theatre, politics, and cultural change |
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480 | (10) |
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Case Study: Athol Fugard: Theatre of witnessing in South Africa |
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483 | (7) |
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Questioning the author(ity) |
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490 | (2) |
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492 | (12) |
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The growth of non-commercial theatres |
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504 | (6) |
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510 | (1) |
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14 Theatres of local roots and global reach, 1970present |
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511 | (38) |
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Local roots, global reach, hybrid play, and social change in "Shakespeare" |
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512 | (4) |
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516 | (6) |
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Theatres of cultural differentiation |
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522 | (7) |
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Theatre as a zone of contact |
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529 | (13) |
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Case Study: Imagining contemporary China |
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530 | (12) |
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The global reach of theatre for social change |
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542 | (5) |
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547 | (2) |
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15 Theatre in networked culture, 1990-present |
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549 | (34) |
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551 | (10) |
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Case Study: Online role-playing games as theatre |
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555 | (6) |
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Changing platforms for theatre and performance |
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561 | (5) |
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New performance structures and processes |
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566 | (15) |
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Case Study: Hip Hop theatre |
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573 | (8) |
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Summary: Thinking through theatre histories |
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581 | (2) |
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583 | (6) |
Pronunciation guide |
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589 | (4) |
Glossary |
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593 | (19) |
Index |
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612 | |