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This best-selling drama anthology is an unusually comprehensive collection of classic theatre and contemporary drama drawn from around the world.
Table of Contents
1. Classical Athens (Aside) Roman Drama and Theater Aeschylus - The Oresteia: Agamemnon, The Liberation Bearers, and The Eumenides Sophocles - Oedipus the King Euripides - Medea Aristophanes - Lysistrata Critical Contexts: Aristotle, from The Poetics Performance Contexts: Sue-Ellen Case, from Classic Drag: The Greek Creation of Female Parts; Niall W. Slater, from The Idea of the Actor Performance Review: Michael Billington - Review of The Oresteia, Royal National Theatre, London (1981) 2. Classical Japan (Aside) Sanskrit Drama and Theater Kan''''ami Kiyotsugu - Matsukaze Nakamura Matagorō II and James R. Brandon, adaptors - Chūshingura: The Forty-Seven Samurai Critical Contexts: Zeami Motokiyo, from A Mirror Held to the Flowers Performance Contexts: Zeami Motokiyo, from Teachings on Style and the Flower Performance Review: Sandra Schlanger - Review of Chūshingura: The Forty-Seven Samurai, University of Hawai''''i (1979) 3. Medieval and Renaissance England (Aside) Shakespeare''''s Globe (Aside) The Jacobean Court Masque Anonymous - The Wakefield Second Shepherds'''' Pageant Anonymous - Everyman Christopher Marlowe - Doctor Faustus William Shakespeare - Hamlet William Shakespeare - The Tempest Critical Contexts: Sir Philip Sidney, from Apology for Poetry Performance Contexts: Louis Montrose - Anatomies of Playing Performance Review: Mel Gussow - Review of Hamlet, Royal Shakespeare Company (1980) 4. Early Modern Europe (Aside) Commedia Dell'''' Arte Pedro Calderon de la Barca - Life Is a Dream Molière - Tartuffe Jean Racine - Phaedra Aphra Behn - The Rover Sor Juana Ines de la Cruz - Loa to The Divine Narcissus George Farquhar - The Recruiting Officer Critical Contexts: John Dryden - Preface to Troilus and Cressida, Containing the Grounds of Criticism in Tragedy Performance Contexts: Katharine Eisaman Maus, from "Playhouse Flesh and Blood": Sexual Ideology and the Restoration Actress Performance Review: Frank Rich - Review of The Rover, Williamstown Theater (1987) 5. Modern Europe (Aside) Melodrama Henrik Ibsen - A Doll House August Strindberg - The Father Anton Chekhov - The Cherry Orchard Bernard Shaw - Major Barbara Luigi Pirandello - Six Characters in Search of an Author Bertolt Brecht - Mother Courage and Her Children Samuel Beckett - Endgame Harold Pinter - The Homecoming Heiner Müller - Hamletmachine Caryl Churchill - Cloud Nine Timberlake Wertenbaker - Our Country''''s Good Critical Contexts: Friedrich Nietzsche, from The Birth of Tragedy; Émile Zola, from Naturalism in Theatre; Martin Esslin, from The Theatre of the Absurd, Fredric Jameson, from Postmodern and Consumer Society Performance Contexts: Constantin Stanislavski - Direction and Acting; Bertolt Brecht - Theatre for Pleasure or Theatre for Instruction; Antonin Artaud, from The Theater and Its Double; Gay Gibson Cima - Discovering Signs: The Emergence of the Critical Actor in Ibsen; W. B. Worthen, from Modern Drama and the Rhetoric of Theater Performance Reviews: Bernard Shaw - Review of A Doll''''s House, Globe Theatre, London (1897); Ben Brantley - Review of A Doll''''s House, Belasco Theater, New York (1997) 6. The United States (Aside) The Federal Theater Project (Aside) Performance Art Susan Glaspell - Trifles Eugene O''''Neill - The Hairy Ape Tennessee Williams - The Glass Menagerie Amiri Baraka/LeRoi Jones - Dutchman Luis Valdez - Los Vendidos Sam Shepard - True West August Wilson - Fences David Henry Hwang - M. Butterfly Tony Kushner - Angles in America, Part I: Millennium Approaches Anna Deveare Smith - Fires in the Mirror: Crown Heights, Brooklyn, and Other Identities Suzan-Lori Parks - The America Play Critical Contexts: Arthur Miller - Tragedy and the Common Man; Amiri Baraka/LeRoi Jones - The Revolutionary Theatre; Henry Louis Gates, Jr. - Beyond the Culture Wars Performance Contexts: Arnold Aronson - Design for Angels in America: Envisioning the Millennium; Tina Landau - Source-Work, the Viewpoints and Composition: What Are They? Performance Review: Robert Brustein - Review of Angels in America, Walter Kerr Theater, New York (1993) 7. World Stages (Aside) Intercultural Performance Mishima Yukio - The Lady Aoi Satoh Makoto - My Beatles Aime Cesaire - A Tempest Griselda Gambaro - Information for Foreigners Wole Soyinka - Death and the King''''s Horseman Brian Friel - Translations Maishe Maponya - Gangsters Jack Davis - No Sugar Tomson Highway - Dry Lips Oughta Move to Kapuskasing Athol Fugard - Valley Song Critical Contexts: Frantz Fanon - The Fact of Blackness; Homi K. Bhabha - Of Mimicry and Man: The Ambivalence of Colonial Discourse Performance Contexts: Ngũgĩ wa Thiong''''o - Enactments of Power: The Politics of Performance Space; Helen Gilbert and Joanne Tompkins, from Post-Colonial Drama Performance Review: John Bremrose - Review of Dry Lips Oughta Move to Kapuskasing, Royal Alexandria Theatre, Toronto (1991)