| Features at a Glance |
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xv | |
| Preface |
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xvii | |
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Part One. Navigating the World of Theatre |
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3 | (46) |
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Theatre: A Global Experience |
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5 | (20) |
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Theatrical Conventions and Culture |
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6 | (4) |
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The Evolution of Conventions |
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8 | (2) |
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Universals of the Theatre |
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10 | (1) |
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10 | (1) |
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10 | (1) |
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11 | (1) |
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Theatre Is a Synthesis of Many Arts |
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11 | (1) |
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11 | (5) |
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12 | (1) |
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13 | (1) |
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14 | (1) |
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15 | (1) |
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Photo Essay Multiculturalism |
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16 | (6) |
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18 | (2) |
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20 | (2) |
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Theatre in Changing Times |
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22 | (1) |
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22 | (1) |
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23 | (2) |
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The Audience: Partners in Performance |
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25 | (24) |
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The Audience and the Actor: The Invisible Bond |
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27 | (1) |
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The Audience Is a Community |
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28 | (1) |
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Audience Members Construct Meaning as Individuals |
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29 | (2) |
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Personal Identity and the Construction of Meaning |
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29 | (2) |
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Audience Members Choose Focus |
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31 | (1) |
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Conventions of Audience Response |
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32 | (1) |
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Audience Conventions in Western Theatre History |
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33 | (4) |
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33 | (3) |
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The Rise of the Passive Audience |
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36 | (1) |
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Rebelling against Realism's Passive Audience |
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37 | (1) |
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Political Theatre: Moving the Audience to Action |
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37 | (7) |
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Agit-Prop: Activating the Audience |
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38 | (1) |
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Bertolt Brecht: Challenging the Audience |
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39 | (1) |
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Augusto Boal: Involving the Audience |
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40 | (1) |
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The Living Theatre: Confronting the Audience |
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40 | (3) |
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Engaging the Audience Today |
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43 | (1) |
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From Provocation to Mainstream: The Evolution of a Convention |
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44 | (1) |
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Meeting Theatre's Challenges |
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45 | (2) |
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47 | (2) |
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Part Two. Encountering Traditions |
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49 | (130) |
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53 | (32) |
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Storytelling and Cultural Tradition |
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54 | (1) |
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The Playwright Shapes the Story |
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55 | (2) |
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57 | (13) |
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58 | (2) |
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60 | (2) |
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62 | (3) |
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65 | (1) |
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66 | (1) |
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Structural Variation: Playing with Time |
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67 | (3) |
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70 | (5) |
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71 | (1) |
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71 | (1) |
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72 | (1) |
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73 | (1) |
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Characters with a Dominant Trait |
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73 | (1) |
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Depersonalized Characters |
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74 | (1) |
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74 | (1) |
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75 | (4) |
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75 | (1) |
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76 | (1) |
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Provoking and Embodying Action |
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77 | (1) |
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77 | (1) |
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Setting Mood, Tone, and Style |
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77 | (2) |
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79 | (1) |
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79 | (3) |
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82 | (1) |
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82 | (3) |
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The European Written Tradition and Its Genres |
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85 | (28) |
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87 | (9) |
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Tragedy in Ancient Greece and Rome |
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87 | (4) |
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91 | (1) |
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Elizabethan and Jacobean Tragedy |
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91 | (2) |
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Bourgeois and Romantic Drama |
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93 | (1) |
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94 | (2) |
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96 | (8) |
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What Makes Us Laugh: The Tools of Comedy |
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97 | (1) |
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98 | (6) |
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104 | (4) |
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105 | (3) |
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108 | (3) |
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111 | (1) |
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111 | (2) |
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Performance Traditions: Legacy and Renewal |
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113 | (36) |
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115 | (3) |
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116 | (1) |
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116 | (1) |
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117 | (1) |
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117 | (1) |
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Mime and the Commedia dell' Arte Tradition |
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118 | (4) |
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The Mime Tradition in Antiquity |
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118 | (1) |
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The Birth of Commedia dell'Arte |
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119 | (1) |
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119 | (2) |
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The Evolution of Commedia |
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121 | (1) |
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122 | (10) |
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122 | (5) |
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127 | (2) |
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129 | (3) |
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132 | (4) |
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133 | (1) |
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134 | (1) |
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The Twentieth Century and Beyond |
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134 | (2) |
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136 | (4) |
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Carnival's European Origins |
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136 | (1) |
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African Influence in Colonial Latin America and the Caribbean |
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136 | (1) |
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Carnival as Political Street Theatre |
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137 | (1) |
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Carnival Adapts and Evolves |
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138 | (2) |
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Puppet Traditions around the Globe |
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140 | (6) |
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141 | (2) |
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Puppets and the Popular Voice |
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143 | (1) |
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Puppets and Written Texts |
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144 | (1) |
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Puppetry in the Twentieth Century and Today |
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145 | (1) |
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146 | (1) |
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146 | (3) |
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Alternative Paths to Performance |
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149 | (30) |
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Other Authors, Other Texts, Other Forms |
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150 | (1) |
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Creating through Improvisation |
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150 | (2) |
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The Performance Ensemble and Collaborative Creation |
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152 | (4) |
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1960s Experimental Collaboration |
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153 | (1) |
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Contemporary Collaborative Work |
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153 | (3) |
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Mime and Movement Theatre |
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156 | (2) |
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157 | (1) |
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158 | (3) |
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158 | (1) |
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Variety Entertainment and the Avant-Garde |
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159 | (2) |
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161 | (3) |
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Telling the Community's Story |
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161 | (1) |
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162 | (2) |
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The Journalist and Social Historian: Documentary Theatre |
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164 | (3) |
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Solo Social Documentarians |
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164 | (1) |
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165 | (1) |
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Reenactments or Living Histories |
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166 | (1) |
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167 | (2) |
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169 | (5) |
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Composers, Lyricists, and Choreographers as Authors |
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170 | (1) |
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Multiculturalism and the American Musical |
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170 | (1) |
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171 | (1) |
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The American Musical Abroad |
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172 | (2) |
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The Designer and the Theatre of Images |
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174 | (2) |
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176 | (1) |
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The Diversity of Theatrical Forms |
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176 | (1) |
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177 | (2) |
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Part Three. Shaping the Performance |
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179 | (88) |
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The Actor: Theatre's Living Presence |
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181 | (34) |
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182 | (1) |
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182 | (1) |
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The Universal Qualities of Acting in the Theatre |
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183 | (2) |
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185 | (1) |
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Presentational versus Representational Acting |
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185 | (1) |
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The Actor's Dual Consciousness |
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186 | (1) |
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186 | (2) |
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The Holy or Profane Actor |
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186 | (2) |
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Convention and Believable Acting |
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188 | (1) |
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Acting Conventions in the European Tradition |
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188 | (1) |
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The Development of Actor Training |
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189 | (13) |
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Constantin Stanislavski and the Science of Psychology |
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192 | (3) |
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Explorations in Physical Training |
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195 | (3) |
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Freeing the Actor's Energy |
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198 | (4) |
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The Acting Profession Today |
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202 | (1) |
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203 | (1) |
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Acting in Performance Traditions |
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203 | (5) |
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Traditional Asian Acting Styles and Training |
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204 | (1) |
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Kathakali: A Case Study of Asian Training |
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205 | (3) |
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208 | (1) |
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Freedom within Constraint; Constraint within Freedom |
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208 | (4) |
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212 | (3) |
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The Director: The Invisible Presence |
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215 | (26) |
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Directors Mold the Theatrical Experience |
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216 | (1) |
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Establishing and Manipulating Stage Convention |
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216 | (1) |
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Directors Play a Double Role |
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217 | (1) |
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217 | (3) |
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Before Directors, Who Ran the Show? |
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217 | (1) |
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Rise of the Modern Director |
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218 | (2) |
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The Director's Process: A Multiplicity of Approaches |
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220 | (1) |
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The Director as Interpreter of a Dramatic Text |
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220 | (10) |
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221 | (1) |
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Establishing the Directorial Vision |
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221 | (3) |
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Conceiving the Play for the Stage |
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224 | (1) |
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224 | (2) |
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226 | (2) |
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228 | (1) |
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Integrating the Elements of Production |
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229 | (1) |
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The Director as Acting Guru |
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230 | (2) |
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232 | (6) |
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233 | (5) |
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The Director's Personal Qualities |
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238 | (1) |
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239 | (2) |
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Theatre Spaces and Environments: The Silent Character |
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241 | (26) |
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242 | (3) |
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Space and Theatrical Convention |
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242 | (1) |
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Space and Performance Evolve Together |
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243 | (1) |
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The Boundaries of Theatre Spaces |
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243 | (2) |
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Cultural Meanings of Theatre Spaces |
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245 | (6) |
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Theatre Spaces and the Social Order |
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245 | (2) |
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Theatre Space Reflects Technological Change |
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247 | (1) |
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Theatre Architecture as Symbolic Design |
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248 | (3) |
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Theatre Spaces and Environments |
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251 | (1) |
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Traditional Theatre Spaces |
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252 | (6) |
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252 | (2) |
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Theatre-in-the-Round or the Arena Stage |
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254 | (2) |
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256 | (2) |
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Flexible and Found Spaces |
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258 | (6) |
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258 | (1) |
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259 | (2) |
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261 | (1) |
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261 | (1) |
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262 | (2) |
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264 | (1) |
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264 | (3) |
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Part Four. Art and Technology: Design for the Theatre |
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267 | (120) |
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269 | (22) |
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Design in Performance Traditions |
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270 | (6) |
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Costume, Makeup, and Masks |
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270 | (5) |
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275 | (1) |
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276 | (6) |
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278 | (2) |
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280 | (1) |
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281 | (1) |
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Western Design before the Interpretive Model |
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282 | (1) |
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283 | (1) |
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Photo Essay Illusions of Reality |
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284 | (1) |
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285 | (1) |
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Photo Essay Modernism in Design |
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286 | (3) |
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Contemporary Design: Collaboration and Evolution |
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289 | (1) |
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289 | (2) |
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291 | (26) |
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292 | (1) |
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Photo Essay Designing the Character's World |
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293 | (3) |
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The Set Designer's Process: Collaboration, Discussion, Evolution |
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296 | (8) |
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Principles of Composition |
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304 | (2) |
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304 | (1) |
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305 | (1) |
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305 | (1) |
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305 | (1) |
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306 | (1) |
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The Visual Elements of Set Design |
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306 | (2) |
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306 | (1) |
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307 | (1) |
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307 | (1) |
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307 | (1) |
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The Set Designer's Materials |
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308 | (6) |
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The Architectural or Natural Space |
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308 | (2) |
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Flats, Platforms, Drapes, Drops, and Scrims |
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310 | (1) |
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311 | (3) |
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314 | (1) |
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314 | (1) |
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314 | (3) |
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317 | (22) |
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318 | (1) |
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318 | (4) |
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The Costume Designer's Process |
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322 | (4) |
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Principles of Composition |
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326 | (1) |
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Visual Elements of Costume Design |
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327 | (6) |
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327 | (1) |
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327 | (1) |
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328 | (5) |
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The Costume Designer's Materials |
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333 | (4) |
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333 | (1) |
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333 | (1) |
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333 | (1) |
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333 | (1) |
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333 | (3) |
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336 | (1) |
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337 | (2) |
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Lighting and Sound Design |
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339 | (24) |
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340 | (2) |
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Technological Advances and Design Innovations |
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340 | (2) |
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342 | (2) |
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The Lighting Designer's Process |
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344 | (4) |
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The Visual Elements of Light |
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348 | (2) |
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349 | (1) |
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349 | (1) |
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349 | (1) |
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350 | (1) |
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350 | (1) |
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Conceiving a Design: Control and Flexibility |
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351 | (1) |
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The Lighting Designer's Tools |
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352 | (1) |
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352 | (1) |
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Sound Practices in the Past |
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353 | (1) |
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353 | (3) |
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The Sound Designer's Process |
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356 | (4) |
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The Sound Designer's Tools |
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360 | (1) |
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361 | (2) |
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Technology and Theatrical Innovation |
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363 | (24) |
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366 | (1) |
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366 | (1) |
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367 | (6) |
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367 | (1) |
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368 | (1) |
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369 | (1) |
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369 | (1) |
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370 | (1) |
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371 | (2) |
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Competition with Other Media |
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373 | (1) |
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New Technologies in the Theatre Today |
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374 | (9) |
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Technology Behind the Scenes |
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374 | (2) |
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376 | (3) |
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379 | (3) |
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382 | (1) |
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Concerns about Theatre and Technology |
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383 | (2) |
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385 | (2) |
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Part Five. Understanding Today's Theatre |
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387 | (45) |
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389 | (20) |
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390 | (1) |
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Professional Criticism and Cultural Theory |
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391 | (1) |
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The Critic as Cultural Insider |
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391 | (1) |
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The Many Faces of the Critic |
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391 | (5) |
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The Critic as Interpreter |
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392 | (1) |
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The Critic as Artistic Muse |
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392 | (3) |
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395 | (1) |
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395 | (1) |
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396 | (3) |
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399 | (2) |
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Experiencing Theatre as a Critic |
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401 | (4) |
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401 | (1) |
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Reading Listings and Reviews |
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401 | (1) |
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402 | (1) |
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Preparing for the Theatre |
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403 | (1) |
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404 | (1) |
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405 | (1) |
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405 | (1) |
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405 | (1) |
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406 | (1) |
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406 | (1) |
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406 | (3) |
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409 | (23) |
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410 | (8) |
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State-Subsidized Theatres |
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410 | (2) |
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International Theatre Festivals |
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412 | (3) |
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Colleges and Universities |
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415 | (1) |
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Summer Theatres and Shakespeare Festivals |
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415 | (1) |
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416 | (2) |
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Commercial and Not-for-Profit Theatre in the United States |
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418 | (2) |
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418 | (1) |
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Professional Not-for-Profit Companies |
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419 | (1) |
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419 | (1) |
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420 | (2) |
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420 | (1) |
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The Not-for-Profit Producer |
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421 | (1) |
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The Alternative Theatre Producer |
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421 | (1) |
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Behind the Scenes: The Unsung Heroes of the Theatre |
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422 | (8) |
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422 | (4) |
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426 | (1) |
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426 | (2) |
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428 | (1) |
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428 | (1) |
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428 | (1) |
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429 | (1) |
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429 | (1) |
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430 | (1) |
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430 | (1) |
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431 | (1) |
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431 | (1) |
| Glossary |
|
432 | (8) |
| Bibliography |
|
440 | (7) |
| Index |
|
447 | |
