This new edition of the innovative and widely acclaimed Theatre Histories: An Introduction offers overviews of theatre and drama in many world cultures and periods together with case studies demonstrating the methods and interpretive approaches used by today's theatre historians. Completely revised and renewed in color, enhancements and new material include: a full-color text design with added timelines to each opening section a wealth of new color illustrations to help convey the vitality of performances described new case studies on African, Asian, and Western subjects a new chapter on modernism, and updated and expanded chapters and part introductions fuller definitions of terms and concepts throughout in a new glossary a re-designed support website offering links to new audio-visual resources, expanded bibliographies, approaches to teaching theatre and performance history, discussion questions relating to case studies and an online glossary.
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This thoroughly revised and updated third edition of the innovative and widely acclaimed Theatre Histories: An Introduction offers a critical overview of global theatre and drama, spanning a broad wealth of world cultures and periods. Bringing together a group of scholars from a diverse range of backgrounds to add fresh perspectives on the history of global theatre, the book illustrates historiographical theories with case studies demonstrating various methods and interpretive approaches. Subtly restructured sections place the chapters within new thematic contexts to offer a clear overview of each period, while a revised chapter structure offers accessibility for students and instructors. Further new features and key updates to this third edition include: A dedicated chapter on historiography New, up to date, case studies Enhanced and reworked historical, cultural and political timelines, helping students to place each chapter within the historical context of the section Pronunciation guidance, both in the text and as an online audio guide, to aid the reader in accessing and internalizing unfamiliar terminology A new and updated companion website with further insights, activities and resources to enable students to further their knowledge and understanding of the theatre.
Providing a clear journey through centuries of European, North and South American, African and Asian forms of theatre and performance, this introduction helps the reader think critically about this exciting field through fascinating yet plain-speaking essays and case studies.
Historians of theatre face the same temptations and challenges as other historians: they negotiate assumptions (their own and those of others) about national identity and national character; they decide what events and actors to highlight--or omit--and what framework and perspective to use for telling the story. Personal biases, trends in scholarship, and sociopolitical contexts influence all histories; and theatre histories, too, are often revised to reflect changing times and interests. This significant collection examines the problems and challenges of formulating national theatre histories.The essayists included here--leading theatre scholars from all over the world, many of whom wrote essays specifically for this volume--provide an international context for national theatre histories as well as studies of individual nations. They cover a wide geographical area: Asia, the Middle East, Africa, Europe, and North America. The essays contrast large countries (India, Indonesia) with small (Ireland), newly independent (Slovenia) with established (U.S.A.), developed (Canada) with developing (Mexico, South Africa), capitalist (U.S.A.) with formerly communist (Russia), monolingual (Sweden) with multilingual (Belgium, Canada), and countries with stable historical boundaries (Sweden) with those whose borders have shifted (Germany).The essays also explore such sociopolitical issues as the polarization of language groups, the importance of religion, the invisibility of ethnic minorities, the redrawing of geographical borders, changes in ideology, and the dismantling of colonial legacies. Finally, they examine such common problems of history writing as types of evidence, periodization, canonization, styles of narrative, and definitions of key terms.Writing and Rewriting National Theatre Histories will be of special interest to students and scholars of theatre, cultural studies, and historiography.
The history of Shakespearean performance is very well served at its two extremes, with volumes providing a valuable historical overview of the subject and others concentrating on the performance history of a particular play. However, no individual volume provides an in-depth consideration of the stage histories of a number of plays, chosen for their particular significance within specific cultural contexts. Shakespeare in Stages addresses this gap. The original case studies explore significant anglophone performances of the plays, as well as ideas about 'Shakespeare', through the changing prisms of three different cultural factors that have proved influential in the way Shakespeare is staged: notions of authenticity, attitudes towards sex and gender, and questions of identity. Ranging from the sixteenth to the twenty-first centuries and examining productions of plays in Britain, USA, Canada, Australia, and South Africa, the studies focus attention on the complex interaction between particular plays, issues, events, and periods.
This textbook provides a global, chronological mapping of significant areas of theatre, sketched from its deepest history in the evolution of our brain's 'inner theatre' to ancient, medieval, modern, and postmodern developments. It considers prehistoric cave art and built temples, African trance dances, ancient Egyptian and Middle-Eastern ritual dramas, Greek and Roman theatres, Asian dance-dramas and puppetry, medieval European performances, global indigenous rituals, early modern to postmodern Euro-American developments, worldwide postcolonial theatres, and the hyper-theatricality of today's mass and social media. Timelines and numbered paragraphs form an overall outline with distilled details of what students can learn, encouraging further explorations online and in the library. Questions suggest how students might reflect on present parallels, making their own maps of global theatre histories, regarding geo-political theatrics in the media, our performances in everyday life, and the theatres inside our brains.
What kinds of documentation of performances exist - both of colonial and indigenous theatre and how may this range of documentation have affected how we read theatre history?
Indonesian Postcolonial Theatre explores modern theatrical practices in Indonesia from a performance of Hamlet in the warehouses of Dutch Batavia to Ratna Sarumpaet's feminist Muslim Antigones. The book reveals patterns linking the colonial to the postcolonial eras that often conflict with the historical narratives of Indonesian nationalism.
This collection addresses key questions in women's theatre history and retrieves a number of previously "hidden" histories of women performers. The essays range across the past 300 years--topics covered include Susanna Centlivre and the notion of intertheatricality; gender and theatrical space; the repositioning of women performers such as Wagner's Muse, Willhelmina Schröder-Devrient, the Comédie Français' "Mademoiselle Mars," Mme. Arnould-Plessey, and the actresses of the Russian serf theatre.
"The work explored by the authors in this volume is courageous, flawed, hopeful, pragmatic and above all available: to what David Diamond calls a `piercing through, going over, under, around the culture of monologue that surrounds us'... to `the poetry in the speech of ordinary people' (Brookes). All of those individuals writing or represented in this volume---all of us drawn to this work---'have clearly put our hands to the wheel."---From the Introduction by Julie Salverson Critical Perspectives on Canadian Theatre in English sets out to make the best critical and scholarly work in the field readily available. The series publishes the work of scholars and critics who have traced the coming-into-prominence of a vibrant theatrical community in English Canada
Mates shows the musical stage in all its guises--from burlesque to musical comedy to grand opera--from its beginnings in pre-Revolutionary America to the present day. He deals sensitively with the recurrent aesthetic question of popular versus highbrow art and also looks at critical reactions to popular theatrical forms of musical entertainment. He introduces the reader to various types of theatrical companies, the changing repertory, and the many kinds of musical performers who have animated the stage. Mates focuses on the creative relationships between the different forms of opera, the minstrel show and circus, melodrama and dance, burlesque, revue, vaudeville, and musical comedy.