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The Wadsworth Anthology of Drama,9780838407509
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The Wadsworth Anthology of Drama

by
Edition:
4th
ISBN13:

9780838407509

ISBN10:
0838407501
Format:
Paperback
Pub. Date:
7/24/2003
Publisher(s):
Wadsworth Publishing
List Price: $101.00

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Questions About This Book?

What version or edition is this?
This is the 4th edition with a publication date of 7/24/2003.
What is included with this book?
  • The New copy of this book will include any supplemental materials advertised. Please check the title of the book to determine if it should include any CDs, lab manuals, study guides, etc.

Summary

Known through three editions as the boldest and most distinguished introduction to drama, William Worthen's pace-setting text continues to provide exciting plays usefully situated within their historical and cultural contexts.

Table of Contents

Preface iii
Introduction: Drama, Theater, and Culture 1(8)
Reading Drama and Seeing Theater
1(1)
Drama and Theater in History
1(4)
Dramatic Genres
5(1)
Dramatic Form
6(1)
The Stage in Critical Practice
7(1)
Reading the Material Theater
7(2)
UNIT I Classical Athens 9(114)
The City Dionysia
11(1)
The Theater of Dionysus
12(1)
Theater and Social Life
13(2)
Drama and Performance
15(1)
Women in the Athenian Theater
16(1)
Forms of Greek Drama
16(1)
Greek Performance in Performance History
17(1)
ASIDE Roman Drama and Theater
18(2)
READING THE MATERIAL THEATER
20(77)
Aeschylus
Agamemnon
23(20)
Sophocles
Oedipus the King
43(20)
Euripides
Medea
63(16)
Aristophanes
Lysistrata
79(18)
CRITICAL CONTEXTS
Aristotle, from The Poetics
97(9)
PERFORMANCE IN HISTORY
Sue-Ellen Case, from "Classic Drag: The Greek Creation of Female Parts"
106(5)
Niall W. Slater, from "The Idea of the Actor"
111(6)
AN ACTOR'S PERSPECTIVE
Interview with Fiona Shaw on Medea
117(4)
PERFORMANCE REVIEW
Michael Billington, review of The Oresteia. Royal National Theatre (1981)
121(2)
UNIT II Classical Japan 123(74)
The Development of Noh Theater
127(3)
The Development of Doll Theater
130(2)
The Development of Kabuki Theater
132(3)
Classical Japanese Drama in Performance History
135(1)
ASIDE Sanskrit Drama and Theater
136(4)
READING THE MATERIAL THEATER
140(28)
Kan'ami
Kiyotsugu Matsukaze
141(7)
Nakamura Matagoró II and James R. Brandon, adaptors
Chushingura: The Forty-Seven Samurai
148(20)
CRITICAL CONTEXTS
Zeami Motokiyo, from "A Mirror Held to the Flower"
168(10)
PERFORMANCE IN HISTORY
Graham Ley, "Aristotle's Poetics, Bharatamuni's Natyasastra, and Zeami's Treatises: Theory as Discourse"
178(12)
A PLAYWRIGHT'S PERSPECTIVE
Zeauri Motokiyo, from Teachings on Style and the Flower
190(6)
PERFORMANCE REVIEW
Sandra Schlanger, review of Chushingura: The Forty-Seven Samurai. University of Hawai'i (1979)
196(1)
UNIT III Medieval and Renaissance England 197(174)
Drama and Theater in Medieval England
199(3)
Staging Medieval Drama
202(3)
Drama and Theater in Renaissance London
205(1)
The Professional Theater and Its Society
205(5)
ASIDE Shakespeare's Globe
210(2)
Drama and Performance
212(1)
Women in Drama and Performance
213(1)
ASIDE The Jacobean Court Masque
214(3)
Medieval and Renaissance Drama in Performance and History
217(5)
READING THE MATERIAL THEATER
222(129)
Anonymous
The Wakefield Second Shepherds' Pageant
224(12)
Anonymous
Everyman
236(11)
Christopher Marlowe
Doctor Faustus
247(27)
William Shakespeare
Hamlet
274(48)
The Tempest
322(29)
CRITICAL CONTEXTS
Sir Philip Sidney, from Apology for Poetry
351(2)
PERFORMANCE IN HISTORY
Phyllis Backfin, "Misogyny is Everywhere"
353(9)
AN ACTOR'S PERSPECTIVE
Michael Pennington, "Hamlet," from Players of Shakespeare
362(6)
PERFORMANCE REVIEW
Mel Gussow, review of Hamlet, Directed by John Barton. Royal Shakespeare Company (1980)
368(3)
UNIT IV Early Modern Europe 371(158)
The Political Climate
373(2)
Theater in France, 1660-1700
375(2)
Theater in England, 1660-1737
377(2)
Theater in Spain's Golden Age, 1580-1680
379(3)
Dramatic Innovation in France, England, and Spain
382(1)
ASIDE Commedia dell' Arte
383(1)
Neoclassicism, Drama, and Theater
384(1)
Early Modern Drama in Performance and History
385(1)
READING THE MATERIAL THEATER
386(122)
Pedro Calderón de la Barca
Life Is a Dream
387(27)
Moličre
Tartuffe
414(30)
Jean Racine
Phaedra
444(20)
Aphra Behn
The Rover
464(35)
Sor Juana Inés de la Cruz
Loa to The Divine Narcissus
499(9)
CRITICAL CONTEXTS
John Dryden, "Preface to Troilus and Cressida, Containing the Grounds of Criticism in Tragedy"
508(10)
PERFORMANCE IN HISTORY
Katharine Eisanlan Maus, from "'Playhouse Flesh and Blood': Sexual Ideology and the Restoration Actress"
518(5)
AN ACTRESS'S PERSPECTIVE
Hippolite Clairon, from Memoirs of Hippolite Clairon, the Celebrated French Actress; With Reflections Upon the Dramatic Arts
523(3)
PERFORMANCE REVIEW
Frank Rich, review of The Rover, Directed by John Rubinstein. The Williamstown Theatre (1987)
526(3)
UNIT V Modern Europe 529(420)
Theater and Culture to 1950
531(7)
ASIDE Melodrama
538(3)
Theater and Culture Since 1950
541
Modern European Drama in Performance and History
540(1)
READING THE MATERIAL THEATER
541(357)
Henrik Ibsen
A Doll House
551(20)
August Strindberg
The Father
571(26)
Anton Chekhov
The Cherry Orchard
597(24)
Elizabeth Robins
Votes for Women!
621(31)
Bernard Shaw
Major Barbara
652(34)
Luigi Pirandello
Six Characters in Search of an Author
686(23)
Bertolt Brecht
Mother Courage and Her Children
709(29)
Samuel Beckett
Endgame
738(24)
Harold Pinter
The Homecoming
762(26)
Marguerite Duras
India Song
788(28)
Heiner Müller
Hamletmachine
816(6)
Caryl Churchill
Cloud Nine
822(29)
David Edgar
Pentecost
851(47)
CRITICAL CONTEXTS
Friedrich Nietzsche, from The Birth of Tragedy
898(3)
Emile Zola, frons Naturalism in the Theatre
901(6)
Martin Esslin, from The Theatre of the Absurd
907(3)
Fredric Jameson, from "Postmodernism and Consumer Society"
910(4)
PERFORMANCE IN HISTORY
Constantin Stanislavski,"Direction and Acting"
914(5)
Bertolt Brecht, "Theatre for Pleasure or Theatre for Instruction"
919(3)
Antonin Artand, front Tue Theater and Its Double
922(6)
Una Chaudhari, from Staging Place: The Geography of Modern Drama
928(10)
A DIRECTOR'S PERSPECTIVE
"A Director's Approach: An Interview with Peter Hall on his Production of The Homecoming"
938(7)
PERFORMANCE REVIEW
Bernard Shaw, review of A Doll's House. Globe Theatre (1897)
945(2)
Ben Brantley, review of A Doll's House. Belasco Theater (1997)
947(2)
UNIT VI The United States 949(390)
"The" American Theater?
951(1)
European Influence and American Innovation
952(2)
Postwar Experiments
954(1)
African-American Drama and Theater
955(1)
ASIDE The Federal Theater Project
956(2)
Popular Theater and Mass Culture
958(1)
American Drama in Performance and History
959(1)
ASIDE Performance Art
960(2)
READING THE MATERIAL THEATER
962(356)
Dion Boucicault
The Octoroon
965(22)
Susan Glaspell
Trifles
987(7)
Angelina Weld Grimké
Rachel
994(26)
Eugene O'Neill
The Hairy Ape
1020(18)
Tennessee Williams
The Glass Menagerie
1038(26)
Arthur Miller
Death of a Salesman
1064(35)
Amiri Baraka/LeRoi Jones
Dutchman
1099(12)
Luis Valdez and El Teatro Campesino
Los Vendidos
1111(5)
Maria Irene Fornes
Fefu and Her Friends
1116(17)
Sam Shepard
True West
1133(22)
August Wilson
Fences
1155(27)
David Henry Hwang
M. Butterfly
1182(25)
Tony Kushner
Angels in America, Part 1: Millennium Approaches
1207(31)
Anna Deavere Smith
Fires In the Mirror: Crown Heights, Brooklyn, and Other Identities
1238(31)
Naomi Iizuka
36 Views
1269(23)
Sutan-Lori Parks
Topdog/Underdog
1292(26)
CRITICAL CONTEXTS
Arthur Miller, from "Tragedy and the Common Man"
1318(2)
Amiri Baraka/LeRoi Jones, from "The Revolutionary Theatre"
1320(2)
PERFORMANCE IN HISTORY
August Wilson, "The Ground on Which I Stand"
1322(6)
Robert Brustein, "Subsidized Separatism"
1328(3)
A DESIGNER'S PERSPECTIVE
Arnold Aronson, "Design for Angels in America: Envisioning the Millennium"
1331(6)
PERFORMANCE REVIEW
Ben Bramley, review of Topdog/Underdog. Joseph Papp Public Theater (2001)
1337(2)
UNIT VII World Stages 1339(320)
A Global Theater?
1341(1)
Postcolonial Perspectives
1342(2)
Postcolonial Drama in Performance and History
1344(19)
Analyzing Postcolonial Theater and Drama
1363(2)
ASIDE Intercultural Performance
1365(1)
READING THE MATERIAL THEATER
1366(263)
Satoh Makoto
My Beatles
1368(13)
Aimé Césaire
A Tempest
1381(17)
Griselda Gambaro
Information for Foreigners
1398(21)
Athol Fugard, John Kath, Winston Ntshona
The Island
1419(13)
Wole Soyinka
Death and the King's Horseman
1432(25)
Brian Friel
Translations
1457(26)
Maishe Maponya
Gangsters
1483(13)
Jack Davis
No Sugar
1496(37)
Gao Xingjian
The Other Shore
1533(16)
Tomson Highway
Dry Lips Oughta Move to Kapuskasing
1549(29)
Judith Thompson
Lion in the Streets
1578(19)
Manjula Padmanabhan
Harvest
1597
CRITICAL CONTEXTS
Frantz Fanon, "The Fact of Blackness"
1629(10)
Horri Bhabha, "Of Mimicry and Man: The Ambivalence of Colonial Discourse"
1639(5)
PERFORMANCE IN HISTORY
Gilbert and Joanne Tompkins, from Post-Colonial Drama
1644(8)
A PLAYWRIGHT'S PERSPECTIVE
Athol Fugard, from Notebooks
1652(5)
PERFORMANCE REVIEW
John Bernrose, review of Dry Lips Oughta Move to Kapuskasing. Royal Alexandria Theatre (1991)
1657(2)
Appendix: Writing About Drama and Theater 1659(8)
Glossary 1667(12)
Bibliography 1679(20)
Appendix: Video, Film, and Sound Recordings of Plays 1699(10)
Credits 1709(4)
Index 1713


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