9780205360635

World of Theatre Tradition and Innovation, The

by ;
  • ISBN13:

    9780205360635

  • ISBN10:

    0205360637

  • Edition: 1st
  • Format: Paperback
  • Copyright: 2005-07-19
  • Publisher: Pearson

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Summary

The World of Theatre: Tradition and Innovation is the first introduction to theatre text to fully focus on diversity and globalism, integrating coverage of multicultural, international, and experimental theatre throughout. This text sets itself apart from the competition in asserting that theatre is a multifaceted and evolving form that must be studied in all of its variety in order to be fully understood. It reflects the changing and increasingly diverse student population as no other text does. Book jacket.

Table of Contents

Features at a Glance xv
Preface xvii
Part One. Navigating the World of Theatre
3(46)
Theatre: A Global Experience
5(20)
Theatrical Conventions and Culture
6(4)
The Evolution of Conventions
8(2)
Universals of the Theatre
10(1)
Theatre Is Live
10(1)
Theatre Is Ephemeral
10(1)
Theatre Is Collaborative
11(1)
Theatre Is a Synthesis of Many Arts
11(1)
Tradition and Innovation
11(5)
Postmodernism
12(1)
Globalization
13(1)
Multiculturalism
14(1)
Interculturalism
15(1)
Photo Essay Multiculturalism
16(6)
Postcolonialism
18(2)
Performance Studies
20(2)
Theatre in Changing Times
22(1)
Why Theatre Today?
22(1)
Key Ideas
23(2)
The Audience: Partners in Performance
25(24)
The Audience and the Actor: The Invisible Bond
27(1)
The Audience Is a Community
28(1)
Audience Members Construct Meaning as Individuals
29(2)
Personal Identity and the Construction of Meaning
29(2)
Audience Members Choose Focus
31(1)
Conventions of Audience Response
32(1)
Audience Conventions in Western Theatre History
33(4)
The Once-Active Audience
33(3)
The Rise of the Passive Audience
36(1)
Rebelling against Realism's Passive Audience
37(1)
Political Theatre: Moving the Audience to Action
37(7)
Agit-Prop: Activating the Audience
38(1)
Bertolt Brecht: Challenging the Audience
39(1)
Augusto Boal: Involving the Audience
40(1)
The Living Theatre: Confronting the Audience
40(3)
Engaging the Audience Today
43(1)
From Provocation to Mainstream: The Evolution of a Convention
44(1)
Meeting Theatre's Challenges
45(2)
Key Ideas
47(2)
Part Two. Encountering Traditions
49(130)
Understanding Plays
53(32)
Storytelling and Cultural Tradition
54(1)
The Playwright Shapes the Story
55(2)
Dramatic Structure
57(13)
Climactic Structure
58(2)
The Well-Made Play
60(2)
Episodic Structure
62(3)
Circular Structure
65(1)
Serial Structure
66(1)
Structural Variation: Playing with Time
67(3)
Dramatic Characters
70(5)
Character and Culture
71(1)
Archetypal Characters
71(1)
Psychological Characters
72(1)
Stock Characters
73(1)
Characters with a Dominant Trait
73(1)
Depersonalized Characters
74(1)
Deconstructed Characters
74(1)
Dramatic Language
75(4)
Advancing the Plot
75(1)
Expressing Character
76(1)
Provoking and Embodying Action
77(1)
Compressing Emotion
77(1)
Setting Mood, Tone, and Style
77(2)
The Failure of Language
79(1)
Form and Innovation
79(3)
Reading the Play
82(1)
Key Ideas
82(3)
The European Written Tradition and Its Genres
85(28)
Tragedy
87(9)
Tragedy in Ancient Greece and Rome
87(4)
Neoclassical Tragedy
91(1)
Elizabethan and Jacobean Tragedy
91(2)
Bourgeois and Romantic Drama
93(1)
Modern Tragedy
94(2)
Comedy
96(8)
What Makes Us Laugh: The Tools of Comedy
97(1)
Comic Forms
98(6)
Tragicomedy
104(4)
Modern Tragicomedy
105(3)
Melodrama
108(3)
Genre Today
111(1)
Key Ideas
111(2)
Performance Traditions: Legacy and Renewal
113(36)
Indian Sanskrit Theatre
115(3)
The Theory of Rasa
116(1)
Performance Conventions
116(1)
Sanskrit Plays
117(1)
Kutiyattam and Kathakali
117(1)
Mime and the Commedia dell' Arte Tradition
118(4)
The Mime Tradition in Antiquity
118(1)
The Birth of Commedia dell'Arte
119(1)
The Commedia Form
119(2)
The Evolution of Commedia
121(1)
Japanese Traditions
122(10)
The Noh Theatre
122(5)
Kyogen
127(2)
Kabuki
129(3)
Chinese Opera
132(4)
Makeup and Costume
133(1)
Movement and Music
134(1)
The Twentieth Century and Beyond
134(2)
Carnival Tradition
136(4)
Carnival's European Origins
136(1)
African Influence in Colonial Latin America and the Caribbean
136(1)
Carnival as Political Street Theatre
137(1)
Carnival Adapts and Evolves
138(2)
Puppet Traditions around the Globe
140(6)
Puppets and Ritual
141(2)
Puppets and the Popular Voice
143(1)
Puppets and Written Texts
144(1)
Puppetry in the Twentieth Century and Today
145(1)
Traditions Evolve
146(1)
Key Ideas
146(3)
Alternative Paths to Performance
149(30)
Other Authors, Other Texts, Other Forms
150(1)
Creating through Improvisation
150(2)
The Performance Ensemble and Collaborative Creation
152(4)
1960s Experimental Collaboration
153(1)
Contemporary Collaborative Work
153(3)
Mime and Movement Theatre
156(2)
Modern Mime
157(1)
The Variety Entertainer
158(3)
Clowns and Fools
158(1)
Variety Entertainment and the Avant-Garde
159(2)
The Storyteller
161(3)
Telling the Community's Story
161(1)
Telling Personal Stories
162(2)
The Journalist and Social Historian: Documentary Theatre
164(3)
Solo Social Documentarians
164(1)
Docudramas
165(1)
Reenactments or Living Histories
166(1)
Music and Dance Theatre
167(2)
The American Musical
169(5)
Composers, Lyricists, and Choreographers as Authors
170(1)
Multiculturalism and the American Musical
170(1)
Dance in Musical Theatre
171(1)
The American Musical Abroad
172(2)
The Designer and the Theatre of Images
174(2)
Sound and Image Theatre
176(1)
The Diversity of Theatrical Forms
176(1)
Key Ideas
177(2)
Part Three. Shaping the Performance
179(88)
The Actor: Theatre's Living Presence
181(34)
The Thrill of Simulation
182(1)
To Act Is Human
182(1)
The Universal Qualities of Acting in the Theatre
183(2)
What Does an Actor Do?
185(1)
Presentational versus Representational Acting
185(1)
The Actor's Dual Consciousness
186(1)
Acting Reflects Culture
186(2)
The Holy or Profane Actor
186(2)
Convention and Believable Acting
188(1)
Acting Conventions in the European Tradition
188(1)
The Development of Actor Training
189(13)
Constantin Stanislavski and the Science of Psychology
192(3)
Explorations in Physical Training
195(3)
Freeing the Actor's Energy
198(4)
The Acting Profession Today
202(1)
Stage and Film Acting
203(1)
Acting in Performance Traditions
203(5)
Traditional Asian Acting Styles and Training
204(1)
Kathakali: A Case Study of Asian Training
205(3)
The Puppeteer as Actor
208(1)
Freedom within Constraint; Constraint within Freedom
208(4)
Key Ideas
212(3)
The Director: The Invisible Presence
215(26)
Directors Mold the Theatrical Experience
216(1)
Establishing and Manipulating Stage Convention
216(1)
Directors Play a Double Role
217(1)
Directing, a Recent Art
217(3)
Before Directors, Who Ran the Show?
217(1)
Rise of the Modern Director
218(2)
The Director's Process: A Multiplicity of Approaches
220(1)
The Director as Interpreter of a Dramatic Text
220(10)
Choosing the Text
221(1)
Establishing the Directorial Vision
221(3)
Conceiving the Play for the Stage
224(1)
High-Concept Directing
224(2)
Shaping the Visual World
226(2)
Working with Actors
228(1)
Integrating the Elements of Production
229(1)
The Director as Acting Guru
230(2)
The Director as Auteur
232(6)
Alternative Beginnings
233(5)
The Director's Personal Qualities
238(1)
Key Ideas
239(2)
Theatre Spaces and Environments: The Silent Character
241(26)
Space Creates Meaning
242(3)
Space and Theatrical Convention
242(1)
Space and Performance Evolve Together
243(1)
The Boundaries of Theatre Spaces
243(2)
Cultural Meanings of Theatre Spaces
245(6)
Theatre Spaces and the Social Order
245(2)
Theatre Space Reflects Technological Change
247(1)
Theatre Architecture as Symbolic Design
248(3)
Theatre Spaces and Environments
251(1)
Traditional Theatre Spaces
252(6)
Proscenium Stage
252(2)
Theatre-in-the-Round or the Arena Stage
254(2)
Thrust Stage
256(2)
Flexible and Found Spaces
258(6)
Street Theatre
258(1)
Multifocus Staging
259(2)
Environmental Staging
261(1)
Site-Specific Staging
261(1)
Black Box Theatres
262(2)
The Actor in Space
264(1)
Key Ideas
264(3)
Part Four. Art and Technology: Design for the Theatre
267(120)
Approaches to Design
269(22)
Design in Performance Traditions
270(6)
Costume, Makeup, and Masks
270(5)
Set
275(1)
Photo Essay Clowns
276(6)
Light
278(2)
Sound
280(1)
Master Artisans
281(1)
Western Design before the Interpretive Model
282(1)
Realistic Design
283(1)
Photo Essay Illusions of Reality
284(1)
Abstract Design
285(1)
Photo Essay Modernism in Design
286(3)
Contemporary Design: Collaboration and Evolution
289(1)
Key Ideas
289(2)
Setting the Stage
291(26)
Goals of Set Design
292(1)
Photo Essay Designing the Character's World
293(3)
The Set Designer's Process: Collaboration, Discussion, Evolution
296(8)
Principles of Composition
304(2)
Focus
304(1)
Balance
305(1)
Proportion
305(1)
Rhythm
305(1)
Unity
306(1)
The Visual Elements of Set Design
306(2)
Line
306(1)
Mass
307(1)
Texture
307(1)
Color
307(1)
The Set Designer's Materials
308(6)
The Architectural or Natural Space
308(2)
Flats, Platforms, Drapes, Drops, and Scrims
310(1)
Furniture and Properties
311(3)
Technology
314(1)
Other Materials
314(1)
Key Ideas
314(3)
Dressing the Character
317(22)
Costuming and the Actor
318(1)
Goals of Costume Design
318(4)
The Costume Designer's Process
322(4)
Principles of Composition
326(1)
Visual Elements of Costume Design
327(6)
Line
327(1)
Texture
327(1)
Color
328(5)
The Costume Designer's Materials
333(4)
Fabric
333(1)
Ornament
333(1)
Accessories
333(1)
Hairstyles and Wigs
333(1)
Makeup
333(3)
Masks
336(1)
Key Ideas
337(2)
Lighting and Sound Design
339(24)
Stage Lighting
340(2)
Technological Advances and Design Innovations
340(2)
Goals of Stage Lighting
342(2)
The Lighting Designer's Process
344(4)
The Visual Elements of Light
348(2)
Intensity
349(1)
Distribution
349(1)
Color
349(1)
Movement
350(1)
Composing with Light
350(1)
Conceiving a Design: Control and Flexibility
351(1)
The Lighting Designer's Tools
352(1)
Sound Design
352(1)
Sound Practices in the Past
353(1)
Goals of Sound Design
353(3)
The Sound Designer's Process
356(4)
The Sound Designer's Tools
360(1)
Key Ideas
361(2)
Technology and Theatrical Innovation
363(24)
What Is Technology?
366(1)
The Impact of Technology
366(1)
Technology and Culture
367(6)
Ancient Greece
367(1)
Ancient Rome
368(1)
The Middle Ages
369(1)
The Renaissance
369(1)
The Nineteenth Century
370(1)
Rejecting Technology
371(2)
Competition with Other Media
373(1)
New Technologies in the Theatre Today
374(9)
Technology Behind the Scenes
374(2)
Technology Center Stage
376(3)
Performing in Cyberspace
379(3)
Techno-Theatre Aesthetic
382(1)
Concerns about Theatre and Technology
383(2)
Key Ideas
385(2)
Part Five. Understanding Today's Theatre
387(45)
The Critical Response
389(20)
Criticism and Culture
390(1)
Professional Criticism and Cultural Theory
391(1)
The Critic as Cultural Insider
391(1)
The Many Faces of the Critic
391(5)
The Critic as Interpreter
392(1)
The Critic as Artistic Muse
392(3)
The Critic as Visionary
395(1)
The Artist as Critic
395(1)
The Dramaturg
396(3)
The Reviewer
399(2)
Experiencing Theatre as a Critic
401(4)
Selecting an Event
401(1)
Reading Listings and Reviews
401(1)
Getting Tickets
402(1)
Preparing for the Theatre
403(1)
Attending the Show
404(1)
Taking Notes
405(1)
Writing a Review
405(1)
Having a Point of View
405(1)
Backing Up Your Ideas
406(1)
Good Writing
406(1)
Key Ideas
406(3)
Making Theatre Happen
409(23)
Where Theatre Happens
410(8)
State-Subsidized Theatres
410(2)
International Theatre Festivals
412(3)
Colleges and Universities
415(1)
Summer Theatres and Shakespeare Festivals
415(1)
Community Theatres
416(2)
Commercial and Not-for-Profit Theatre in the United States
418(2)
Commercial Theatre
418(1)
Professional Not-for-Profit Companies
419(1)
Common Interest Theatres
419(1)
Producing Theatre
420(2)
The Commercial Producer
420(1)
The Not-for-Profit Producer
421(1)
The Alternative Theatre Producer
421(1)
Behind the Scenes: The Unsung Heroes of the Theatre
422(8)
The Stage Manager
422(4)
The Production Manager
426(1)
The Technical Director
426(2)
The Master Electrician
428(1)
The Sound Engineer
428(1)
The Costume Shop Manager
428(1)
The Props Manager
429(1)
The Running Crews
429(1)
The House Manager
430(1)
Methods of Collaboration
430(1)
Closing the Show
431(1)
Key Ideas
431(1)
Glossary 432(8)
Bibliography 440(7)
Index 447

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