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| Preface | |
| Introduction: DRAMA, THEATER, AND CULTURE | |
| Reading Drama and Seeing Theater | |
| Drama and Theater in History | |
| Dramatic Genres | |
| Dramatic Form | |
| The Stage in Critical Practice | |
| Interpreting the Material Past | |
| The Theater of Classical Europe: Athens and Rome | |
| Classical Athens | |
| The City Dionysia | |
| The Theater of Dionysus | |
| The Theater and Social Life | |
| Drama and Performance | |
| Women in the Athenian Theater | |
| Forms of Greek Drama | |
| Greek Drama in Performance History | |
| Classical Rome | |
| Roman Festivals and Drama | |
| Roman Theater Architecture | |
| Roman Drama | |
| Roman Drama in Performance History | |
| Aside: Roscius | |
| Reading the Material Theater | |
| Aeschylus Oresteia Agamemnon | |
| The Libation Bearers | |
| The Eumenides | |
| Sophocles Oedipus the King | |
| Euripides Medea | |
| Aristophanes Lysistrata | |
| Plautus The Brothers Menaechmus | |
| Critical Contexts | |
| Aristotle, from The Poetics | |
| Horace, from The Art of Poetry | |
| Critical Perspectives | |
| "Classic Drag: The Greek Creation of Female Parts" | |
| "Tragedy: A Curious Art Form" | |
| Fiona Shaw: Interview on Medea | |
| Casebook: On Translation | |
| Medea | |
| Medea | |
| Medea | |
| Medea | |
| Medea | |
| Medea | |
| Medea | |
| The Theater of Classical Japan | |
| The Development of Noh Theater | |
| Noh Dramatic Form | |
| The Noh Stage | |
| The Development of Doll Theater | |
| The Doll Theater Stage | |
| The Development of Kabuki Theater | |
| The Kabuki Stage | |
| Classical Japanese Drama in Performance History | |
| Reading the Material Theater | |
| Aside: Sanskrit Drama and Theater | |
| Kan'ami Kiyotsugu Matsukaze | |
| Nakamura Matagoro II and James R. Brandon, adaptors | |
| Chushingura:The Forty-Seven Samurai | |
| Critical Contexts | |
| "A Mirror Held to the Flower" | |
| Critical Perspectives | |
| "Arisotle's Poetics, Bharatamuni's Natyasastra, and Zeami's Treatises: Theory as Discourse" | |
| Casebook: On Noh Acting Today | |
| An Interview with Kanze Hideo, Noh: Business and Art | |
| The Theater of Medieval and Renaissance England | |
| Drama and Theater in Medieval England | |
| Morality Drama | |
| Staging Medieval Drama | |
| Drama and Theater in Renaissance London | |
| The Professional Theater and Its Society | |
| Professional Companies | |
| The Theaters | |
| Drama and Performance | |
| Women in Drama and Performance | |
| Medieval and Renaissance Drama in Performance and History | |
| Reading the Material Theater | |
| Aside: Shakespeare's Globe | |
| Aside: The Jacobean Court Masque | |
| Anonymous The York Crucifixion | |
| Anonymous Everyman | |
| Christopher Marlowe Doctor Faustus | |
| William Shakespeare | |
| A Midsummer Night's Dream | |
| Hamlet | |
| The Tempest | |
| Critical Contexts | |
| Apology for Poetry | |
| Critical Perspectives | |
| Meaning by Shakespeare | |
| Casebook: On Acting Hamlet | |
| Thomas Betterton | |
| David Garrick | |
| Sir John Gielgud | |
| Michael Pennington | |
| Kenneth Branagh | |
| Ethan Hawke | |
| Early Modern Europe | |
| The Political Climate | |
| Theater in France, 1660-1700 | |
| Theater in England, 1660-1737 | |
| Theater in Spain's Golden Age, 1580-1680 | |
| Dramatic Innovation in France, England, and Spain | |
| Neoclassicism, Drama, and Theater | |
| Early Modern Drama in Performance and History | |
| Reading the Material Theater | |
| Aside: Commedia dell'Arte | |
| Pedro Calder?n de la Barca Life Is a Dream | |
| Moli?re Tartuffe | |
| Jean Racine Phaedra | |
| Aphra Behn The Rover | |
| Sor Juana In?s de la Cruz Loa to The Divine Narcissus | |
| George Farquhar, The Recruiting Officer | |
| Critical Contexts | |
| "Preface to Troilus and Cressida, Containing the Grounds of Criticism in Tragedy" | |
| Critical Perspectives | |
| "'Playhouse Flesh and Blood': Sexual Ideology and the Restoration Actress" | |
| Casebook: On Adaptation | |
| Trumpets and Drums | |
| Modern Europe | |
| Theater and Culture to 1950 | |
| The Modern Theater | |
| Forms of Modern Drama | |
| Acting and Performance | |
| Women in Modern Drama and Theater | |
| Theater and Culture Since 1950 | |
| Artaud and the Theater of Cruelty | |
| Theater of the Absurd | |
| Political Theater | |
| Drama, Theater and the "Postmodern" | |
| Modern European Drama in Performance and History | |
| Aside: Melodrama | |
| Reading the Material Theater | |
| Henrik Ibsen A Doll House | |
| Oscar Wilde The Importance of Being Earnest | |
| Alfred Jarry, Ubu Roi | |
| August Strindberg A Dream Play | |
| Anton Chekhov The Cherry Orchard | |
| Bernard Shaw Major Barbara | |
| Luigi Pirandello Six Characters in Search of an Author | |
| Marieluise Fleisser Pioneers in Ingolstadt | |
| Bertolt Brecht Mother Courage and Her Children | |
| Jean Genet The Balcony | |
| Samuel Beckett Endgame | |
| Harold Pinter The Homecoming | |
| Heiner M?ller Hamletmachine | |
| Caryl Churchill Cloud Nine | |
| David Hare Stuff Happens | |
| Critical Contexts | |
| The Birth of Tragedy.?mile Zola, from Naturalism in the Theatre | |
| "Direction and Acting" | |
| "The Modern Theatre is the Epic Theatre" "The Street Scene" | |
| The Theater and Its Double | |
| Critical Perspectives | |
| The Theatre of the Absurd | |
| "Postmodernism and Consumer Society" | |
| Postdramatic Theatre | |
| Casebook: On Directing | |
| Samuel Beckett, on directing Endgame | |
| Theater in The United States | |
| "The" American Theater | |
| European Influence and American Innovation | |
| Postwar Experiments | |
| African-American Drama and Theater | |
| Popular Theater and Mass Culture | |
| American Drama in Performance and History | |
| Reading the Material Theater | |
| "A Jury of her Peers" | |
| Aside: The Federal Theater Project | |
| Aside: Performance Art | |
| Dion Boucicault The Octoroon | |
| Susan Glaspell Trifles | |
| Eugene O'Neill Hairy Ape | |
| Sophie Treadwell, Machinal | |
| Tennessee Williams The Glass Menagerie | |
| Arthur Miller Death of a Salesman | |
| Amiri Baraka/LeRoi Jones Dutchman | |
| Luis Valdez Los vendidos | |
| Sam Shepard True West | |
| August Wilson Fences | |
| David Henry Hwang M. Butterfly | |
| Tony Kushner Angels in America | |
| Part 1 Millennium Approaches | |
| Anna Deavere Smith Fires in the Mirror | |
| Suzan-Lori Parks The America Play | |
| Cherr?e Moraga The Hungry Woman: A Mexican Medea | |
| Adriano Shaplin Pugilist Specialist | |
| Critical Contexts | |
| "Tragedy and the Common Man" | |
| "The Revolutionary Theatre" | |
| Critical Perspectives | |
| "The Ground on Which I Stand" | |
| "Subsidized Separatism" | |
| Casebook: On Design | |
| Jo Mielziner, on Death of a Salesman | |
| World Stages | |
| A Global Theater | |
| Argentina | |
| Canada | |
| China | |
| Czech Republic | |
| India | |
| Ireland and Northern Ireland | |
| Martinique | |
| Nigeria | |
| Russia | |
| South Africa | |
| Analyzing Postcolonial Theater and Drama | |
| Reading the Material Theater | |
| Aside: Intercultural Performance | |
| Aim | |
| C?saire A Tempest | |
| Griselda Gambaro Information for Foreigners | |
| Athol Fugard, John Kani, Winston Ntshona The Island | |
| Wole Soyinka Death and the King's Horseman | |
| Brian Friel Translations | |
| Gao Xingjian The Other Shore | |
| V?clav Havel Temptation | |
| Tomson Highway Dry Lips Oughta Move to Kapuskasing | |
| Jane Taylor Ubu and the Truth Commission | |
| Manjula Padmanabhan Harvest | |
| Vassily Sigarev Black Milk | |
| Victoria Brittain and Gillian Slovo, Guantanamo: "Honor Bound to Defend Freedom" | |
| Critical Contexts | |
| "The Fact of Blackness" | |
| Towards a Poor Theatre | |
| Theatre of the Oppressed | |
| Critical Perspectives | |
| "Of Mimicry and Man: The Ambivalence of Colonial Discourse" | |
| Post-Colonial Drama | |
| Casebook: The Review | |
| "The Spirit in a South African Prison" | |
| "Stage: Soyinka's Death and the King's Horseman" | |
| "Theater Puppeteers with a Hand in the Apartheid Protests" | |
| Glossary | |
| Credits | |
| Index | |
| Table of Contents provided by Publisher. All Rights Reserved. |
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