Theatre histories : an introduction /
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| Imprint: | New York : Routledge, 2006. |
|---|---|
| Description: | xxxi, 544 p. : ill., maps ; 26 cm. |
| Language: | English |
| Subject: | |
| Format: | Print Book |
| URL for this record: | http://pi.lib.uchicago.edu/1001/cat/bib/5956913 |
Table of Contents:
- Contributors
- Acknowledgments
- Preface: Interpreting performances and cultures
- A first mapping: About this book
- A second mapping: Cultural performances, theatre, and drama
- A third mapping: About history, historiography, and historical methods
- The historian's sources
- A fourth mapping: Periodization through modes of human communication
- Case studies and interpretive approaches: The historian at work
- A note on diacritics, spellings, and names
- Part I. Performance and theatre in oral and written cultures before 1600
- Introduction
- The evolution of human language and consciousness
- Human language, writing and society
- Performance, communication, and remembrance
- 1. Oral, ritual, and shamanic performance
- Primary orality
- Oral performance
- Oral texts and their transmission under the written sign: Vedic chanting in India
- Ritual specialists: Accessing sacred power
- Late Neolithic ritual landscapes and pilgrimage in England
- Early Celtic oral and ritual festival performance
- Interpreting and understanding ritual
- Ritual, ceremony, and collective social life
- The healing powers of ritual/shamanic specialists
- Summary
- Case studies: Yoruba ritual as "play," and "contingency" in the ritual process
- Interpretive approach: Theories of play and improvisation
- Korean shamanism and the power of speech
- Interpretive approach: Speech act theory
- 2. Religious and civic festivals: Early drama and theatre in context
- Commemorative ritual "drama" in Abydos, Egypt
- Dialogic drama in the city-state of Athens
- Mesoamerican performance
- Texts in other traditions
- Medieval Christian liturgy and drama
- Islamic commemorative mourning "dramas": The Ta'zieh of Iran
- Summary discussion
- Case studies: Classical Greek theatre: Looking at Oedipus
- Interpretive approach: Cognitive studies
- Christians and Moors: Medieval performance in Spain and the New World
- Interpretive approach: Cultural hierarchy
- 3. Imperial theatre: Pleasure, power, and aesthetics
- Drama, theatre, and performance in the Roman Republic and Empire
- Indian literary and commemorative drama and theatre
- Early Chinese and Japanese drama, theatre, and performance
- Summary discussion
- Case studies: Plautus's plays: What's so funny?
- Interpretive approach, Part I. Henri Bergson's theory of laughter
- Interpretive approach, Part II. Bergson's theory in historical perspective
- Kutiyattam Sanskrit theatre of India: Rasa-bhava aesthetic theory and the question of taste
- Interpretive approach: Reception theory
- The Silent Bell: The Japanese noh play, Dojoji
- Interpretive approach: Feminist and gender theory, modified for medieval Japan
- Part II. Theatre and print cultures, 1500-1900
- Introduction: China and Western Europe
- The rise of European professional theatres
- Commedia dell'arte
- Institutionalizing drama in Europe
- Golden Age theatre in Spain, 1590-1680
- Neoclassicism and print in Europe
- Le Cid and French absolutism
- Scenic perspectivism in print and on stage
- Acting and print in Europe after 1700
- European dramatists claim authority
- Theatre, print, and the public
- 4. Theatre and the state, 1600-1900
- Theatre and the state in France, 1630-1675
- From patronage to control in France, 1675-1789
- Samurai warriors versus kabuki actors, 1600-1670
- Regulating kabuki, 1670-1868
- Theatre and the state in England, 1600-1660
- Patents, censorship, and social order in England, 1660-1790
- Theatre and the state in England and France, 1790-1900
- Case studies: Moliere and carnival laughter
- Interpretive approach: Mikhail M. Bakhtin's concept of the carnivalesque
- Kabuki and bunraku: Mimesis and the hybrid body
- Interpretive approach: Mimesis, hybridity, and the body
- Shakespearean sexuality in Twelfth Night
- Interpretive approach: Queer theory
- 5. Theatres for knowledge through feeling, 1700-1900
- Sentimental drama in England
- Sentiment on the continent
- Acting in the eighteenth century
- Feeling and knowledge in Kathakali dance-drama
- Changes and challenges in sentimentalism
- Melodrama and the French Revolution
- Melodramatic spectacle
- Melodrama gains spectators
- Case studies: Theatre iconology and the actor as icon: David Garrick
- Interpretive approach: Cultural studies and theatre iconology
- Kathakali dance-drama: Divine "play" and human suffering on stage
- Interpretive approach: Ethnography and history
- Theatre and hegemony: Comparing popular melodramas
- Interpretive approach: Cultural hegemony
- 6. Theatre, nation, and empire, 1750-1900
- Romanticism and the theatre
- Romanticism, history, and nationalism
- Nationalism and imperialism in theatre in the United States
- Nationalism and imperialism on the Russian stage
- Orientalism on the European stage
- Theatre riots
- Case study: The Playboy riots: Nationalism in the Irish theatre
- Interpretive approach: Cognitive linguistics
- Part III. Theatre in modern media cultures, 1850-1970
- Introduction: Historical changes after 1850
- Photography and audiophony in the theatre
- Spectacular bodies on the popular stage
- The rise of realism in the West
- Realist producer-directors
- The rise of realism in Japan
- Avante-garde theatres in the West
- The Great War as a turning point in world theatre
- Shakespeare and film in England
- Lyrical abstraction and the radio in France
- Psychological realism in the United States
- Theatre and politics
- The continuing power of print
- 7. Theatres of popular entertainment, 1850-1970
- Promoting popular entertainment
- Urban carnivals and optical delights
- Variety theatre
- English music hall
- Theatrical revues
- Popular melodrama and comedy
- Musical theatre
- Case studies: "Blacking up" on the U.S. stage
- Interpretive approach: Reification and utopia in popular culture
- British pantomime: How "bad" theatre remains popular
- Interpretive approach: Phenomenology and history
- 8. Theatres of the avant-garde and their legacy, 1880-1970
- Naturalism on stage
- Symbolism and its influence
- Strindberg and the expressionists
- Retrospectivists and futurists
- Meyerhold and constructivisim
- Dadaists and surrealists
- Institutionalizing the avant-garde
- The end of the avant-garde
- The avant-garde legacy in the United States
- The avant-garde legacy in France, 1945-1970
- Theatrical innovation in Latin America, 1930-1970
- Theatrical innovation in Eastern Europe, 1955-1970
- Theatrical innovation in South and Southeast Asia, 1950-1970
- The avant-garde and political theatre
- Case studies: Selves, roles, and actors: Actor training in the West
- Interpretive approach: Cognitive psychology
- Discoursing on desire: Desire Under the Elms in the 1920s
- Interpretive approach: Discourse theory
- Beckett's theatrical minimalism
- Interpretive approach: Performative writing
- 9. Theatres for reform and revolution, 1880-1970
- Liberalism in the theatre, 1914-1930
- Socialism in the theatre before 1914
- Theatricalizing the Russian revolution
- The influence of the revolution in the West
- Theatres of anti-imperialism, 1900-1960
- Postwar theatre in Japan and Germany
- Theatre and the Cold War
- 1968 and its consequences
- Case studies: Ibsen's A Doll House: If Nora were a material girl
- Interpretive approach: Cultural materialism
- Social drama in Kerala, India: Staging the "revolution"
- Interpretive approach: Politics, ideology, history, and performance
- Brecht directs Mother Courage
- Interpretive approach: Semiotics
- Part IV. Theatre and performance in the age of global communications, 1950-present
- Introduction: Colonialism, globalization, media, and theatre
- Media and theatre: All in the family
- Globalization, media, theatre, and performance
- The media: Power and resistance
- Theatre, performance, resistance
- Performance art
- Theatre in postcolonial African nations
- 10. Rich and poor theatres of globalization
- National theatres in the international marketplace
- International festivals
- Mega-musicals
- Radical theatre in the West after 1968
- Post-1968 radical theatre in developing nations
- Theatres for development
- Nuevo Teatro Popular
- Community-based theatre since 1990
- Case studies: The vortex of Times Square
- Interpretive approach: Vortices of behavior
- Media and theatre: Niche marketing
- 11. Director, text, and performance in the postmodern world
- Aristotle to postmodernism: Texts and contexts
- Director and text in Antonin Artaud's "theatre of cruelty"
- The holy actor as text in Jerzy Grotowski's "poor theatre"
- Peter Brook's Shakespeare and contemporary authenticity
- Terayama Shuji and the disquieting critique of theatrical convention
- Suzuki Tadashi's contemporary Japanese Euripides
- Other negotiations with the classics: Roger Planchon's Moliere
- The United States: The Performance Group, La Mama, and the Wooster Group
- Theatre of images: Robert Wilson and others
- Case studies: The crisis of representation and the authenticity of performance: Antonin Artaud and Jacques Derrida
- Interpretive approach: Deconstruction
- Global Shakespeare
- Interpretive approach: Postcolonial criticism
- 12. Interculturalism, hybridity, tourism: The performing world on new terms
- Globalization and cross-cultural negotiations in theatre
- Historical cross-cultural conversations
- Intercultural theatre
- Intracultural theatre
- Syncretism and hybridity
- Tourism and performance
- Case studies: Whose Mahabharata is it, anyway? The ethics and aesthetics of intercultural performance
- Interpretive approach: The historian between two views of intercultural performance
- Imagining contemporary China: Gao Xingjian's Wild Man in post-Cultural Revolution China
- Interpretive approach: Theories of national identity
- Backstage/frontstage: Ethnic tourist performances and identity in "America's Little Switzerland"
- Interpretive approach: Sociological theories of tourism and everyday performance
- Index
