{"product_id":"theatre-in-theory-1900-2000-isbn-9781405140430","title":"Theatre in Theory 1900-2000","description":"\u003ci\u003eTheatre in Theory\u003c\/i\u003e is the most complete anthology documenting 20th-century dramatic and performance theory to date, offering a rich variety of perspectives from the century’s most prominent playwrights, directors, scholars, and philosophers. \u003cbr\u003e \u003cul\u003e \u003cli style=\"list-style: none\"\u003e\n\u003cbr\u003e \u003c\/li\u003e \u003cli\u003eIncludes major theoretical and critical manifestos, hypotheses, and theories from the field\u003cbr\u003e \u003c\/li\u003e \u003cli\u003eWide-ranging and broadly constructed, this text has both interdisciplinary and global appeal\u003cbr\u003e \u003c\/li\u003e \u003cli\u003eIncludes a thematic index, section introductions, and supporting commentary\u003cbr\u003e \u003c\/li\u003e \u003cli\u003eHelps students, teachers, and practitioners to think critically about the nature of theatre\u003c\/li\u003e \u003c\/ul\u003e  Acknowledgments. \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart I: 1900–1920:\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eIntroduction to Part I.\u003c\/p\u003e \u003cp\u003e1. August Strindberg (1849–1912).\u003c\/p\u003e \u003cp\u003ePreface to Miss Julie (1888).\u003c\/p\u003e \u003cp\u003e2. Oscar Wilde (1854–1900).\u003c\/p\u003e \u003cp\u003eThe Decay of Lying: An Observation (1889).\u003c\/p\u003e \u003cp\u003e3. Henri Bergson (1859–1941).\u003c\/p\u003e \u003cp\u003eLaughter (Le Rire, 1900).\u003c\/p\u003e \u003cp\u003e4. Valery Bryusov (1873–1924).\u003c\/p\u003e \u003cp\u003eAgainst Naturalism in the Theatre (from “Unnecessary Truth”) (1902).\u003c\/p\u003e \u003cp\u003e5. Romain Rolland (1866–1944).\u003c\/p\u003e \u003cp\u003eThe People’s Theatre (1903).\u003c\/p\u003e \u003cp\u003e6. Maurice Maeterlinck (1862–1949).\u003c\/p\u003e \u003cp\u003eThe Modern Drama (1904).\u003c\/p\u003e \u003cp\u003e7. Aida Overton Walker (1880–1914).\u003c\/p\u003e \u003cp\u003eColored Men and Women on the Stage (1905).\u003c\/p\u003e \u003cp\u003e8. Vsevolod Vaslov Meyerhold (1874–1940).\u003c\/p\u003e \u003cp\u003eThe Naturalistic Theatre and the Theatre of Mood (1908).\u003c\/p\u003e \u003cp\u003e9. Edward Gordon Craig (1872–1966).\u003c\/p\u003e \u003cp\u003eThe Actor and the Über-marionette (1908).\u003c\/p\u003e \u003cp\u003e10. William Butler Yeats (1865–1939).\u003c\/p\u003e \u003cp\u003eThe Tragic Theatre (1910).\u003c\/p\u003e \u003cp\u003e11. George Bernard Shaw (1856–1950).\u003c\/p\u003e \u003cp\u003eAgainst the Well-Made Play (1911).\u003c\/p\u003e \u003cp\u003e12. F. T. Marinetti (1876–1944).\u003c\/p\u003e \u003cp\u003eFuturism and the Theatre (1913).\u003c\/p\u003e \u003cp\u003e13. Georg Lukács (1885–1971).\u003c\/p\u003e \u003cp\u003eThe Sociology of Modern Drama (1914).\u003c\/p\u003e \u003cp\u003e14. Emma Goldman (1869–1940).\u003c\/p\u003e \u003cp\u003eForeword to The Social Significance of Modern Drama (1917).\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart II: 1920–1940:.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction to Part II.\u003c\/p\u003e \u003cp\u003e15. Luigi Pirandello (1867–1936).\u003c\/p\u003e \u003cp\u003eOn Comedy (1920).\u003c\/p\u003e \u003cp\u003e16. Stanislaw Witkiewicz (1885–1939).\u003c\/p\u003e \u003cp\u003eOn a New Type of Play (1920).\u003c\/p\u003e \u003cp\u003e17. Adolphe Appia (1862–1928).\u003c\/p\u003e \u003cp\u003eOrganic Unity (1921).\u003c\/p\u003e \u003cp\u003e18. Georg Kaiser (1878–1945).\u003c\/p\u003e \u003cp\u003eMan in the Tunnel, or: The Poet and the Play (1923).\u003c\/p\u003e \u003cp\u003e19. Alain Locke (1886–1954).\u003c\/p\u003e \u003cp\u003eThe Negro and the American Stage (1926).\u003c\/p\u003e \u003cp\u003eThe Drama of Negro Life (1926).\u003c\/p\u003e \u003cp\u003e20. W. E. B. Du Bois (1868–1963).\u003c\/p\u003e \u003cp\u003e“Krigwa Players Little Negro Theatre”: The Story of a Little Theatre Movement (1926).\u003c\/p\u003e \u003cp\u003eCriteria of Negro Art (1926).\u003c\/p\u003e \u003cp\u003e21. Bertolt Brecht (1898–1956).\u003c\/p\u003e \u003cp\u003eThe Modern Theatre is the Epic Theatre (1930).\u003c\/p\u003e \u003cp\u003eTheatre for Pleasure or Theatre for Instruction (ca. 1936).\u003c\/p\u003e \u003cp\u003eAlienation Effect in Chinese Acting (1936).\u003c\/p\u003e \u003cp\u003e22. Eugene O’Neill (1888–1953).\u003c\/p\u003e \u003cp\u003eMemoranda on Masks (1932).\u003c\/p\u003e \u003cp\u003eSecond Thoughts (1932).\u003c\/p\u003e \u003cp\u003eA Dramatist’s Notebook (1933).\u003c\/p\u003e \u003cp\u003e23. Gertrude Stein (1874–1946).\u003c\/p\u003e \u003cp\u003ePlays (1934).\u003c\/p\u003e \u003cp\u003e24. Zora Neale Hurston (1891–1960).\u003c\/p\u003e \u003cp\u003eCharacteristics of Negro Expression (1934).\u003c\/p\u003e \u003cp\u003e25. Federico García Lorca (1899–1936).\u003c\/p\u003e \u003cp\u003eThe Prophecy of Lorca (1934).\u003c\/p\u003e \u003cp\u003e26. Antonin Artaud (1896–1949).\u003c\/p\u003e \u003cp\u003eOn the Balinese Theatre (1938).\u003c\/p\u003e \u003cp\u003eNo More Masterpieces (1938).\u003c\/p\u003e \u003cp\u003e27. Walter Benjamin (1892–1940).\u003c\/p\u003e \u003cp\u003eWhat is Epic Theatre? (1939).\u003c\/p\u003e \u003cp\u003e28. Maxwell Anderson (1888–1959).\u003c\/p\u003e \u003cp\u003eThe Essence of Tragedy (1939).\u003c\/p\u003e \u003cp\u003e29. Karel Brušák (1913–2004).\u003c\/p\u003e \u003cp\u003eSigns in the Chinese Theatre (1939).\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart III: 1940–1960:\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eIntroduction to Part III.\u003c\/p\u003e \u003cp\u003e30. Jindřich Honzl (1894–1953).\u003c\/p\u003e \u003cp\u003eDynamics of the Sign in the Theatre (1940).\u003c\/p\u003e \u003cp\u003e31. Thornton Wilder (1897–1975).\u003c\/p\u003e \u003cp\u003eSome Thoughts on Playwrighting (1941).\u003c\/p\u003e \u003cp\u003e32. Arthur Miller (1915–2005).\u003c\/p\u003e \u003cp\u003eTragedy and the Common Man (1949).\u003c\/p\u003e \u003cp\u003e33. T. S. Eliot (1888–1965).\u003c\/p\u003e \u003cp\u003ePoetry and Drama (1950).\u003c\/p\u003e \u003cp\u003e34. Tennessee Williams (1911–1983).\u003c\/p\u003e \u003cp\u003eThe Timeless World of the Play (1951).\u003c\/p\u003e \u003cp\u003e35. John Gassner (1903–1967).\u003c\/p\u003e \u003cp\u003e“Enlightenment” and Modern Drama (1954).\u003c\/p\u003e \u003cp\u003e36. Friedrich Dürrenmatt (1921–1990).\u003c\/p\u003e \u003cp\u003eProblems of the Theatre (1955).\u003c\/p\u003e \u003cp\u003e37. Sean O’Casey (1880–1964).\u003c\/p\u003e \u003cp\u003eGreen Goddess of Realism (1956).\u003c\/p\u003e \u003cp\u003e38. Eric Bentley (b. 1916).\u003c\/p\u003e \u003cp\u003eWhat is Theatre? A Point of View (1956).\u003c\/p\u003e \u003cp\u003e39. Northrop Frye (1912–1991).\u003c\/p\u003e \u003cp\u003eSpecific Forms of Drama (1957).\u003c\/p\u003e \u003cp\u003e40. Eugène Ionesco (1909–1994).\u003c\/p\u003e \u003cp\u003eThe Avant-Garde Theatre (1960).\u003c\/p\u003e \u003cp\u003e41. Jean-Paul Sartre (1905–1980).\u003c\/p\u003e \u003cp\u003eBeyond Bourgeois Theatre (1960).\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart IV: 1960–1980:\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eIntroduction to Part IV.\u003c\/p\u003e \u003cp\u003e42. Martin Esslin (1918–2002).\u003c\/p\u003e \u003cp\u003eThe Theatre of the Absurd (1961).\u003c\/p\u003e \u003cp\u003e43. George Steiner (b. 1929).\u003c\/p\u003e \u003cp\u003eThe Death of Tragedy (1961).\u003c\/p\u003e \u003cp\u003e44. Roland Barthes (1915–1980).\u003c\/p\u003e \u003cp\u003eThe Task of Brechtian Criticism (1956).\u003c\/p\u003e \u003cp\u003eTheatre and Signification (1963).\u003c\/p\u003e \u003cp\u003e45. Lionel Abel (1910–2001).\u003c\/p\u003e \u003cp\u003eOf Bert Brecht – Not Simple but Simplified (1963).\u003c\/p\u003e \u003cp\u003e46. Francis Fergusson (1904–1986).\u003c\/p\u003e \u003cp\u003eThe Notion of “Action” (1964).\u003c\/p\u003e \u003cp\u003e47. Peter Szondi (1929–1971).\u003c\/p\u003e \u003cp\u003eThe Drama (1965).\u003c\/p\u003e \u003cp\u003e48. Kenneth Burke (1897–1993).\u003c\/p\u003e \u003cp\u003eDramatic Form – And: Tracking Down Implications (1966).\u003c\/p\u003e \u003cp\u003e49. Jacques Derrida (1930–2004).\u003c\/p\u003e \u003cp\u003eTheatre of Cruelty and the Closure of Representation (1966).\u003c\/p\u003e \u003cp\u003e50. Jerzy Grotowski (1933–1999).\u003c\/p\u003e \u003cp\u003eTowards the Poor Theatre (1967).\u003c\/p\u003e \u003cp\u003e51. Raymond Williams (1921–1988).\u003c\/p\u003e \u003cp\u003eDrama from Ibsen to Brecht (1968).\u003c\/p\u003e \u003cp\u003e52. Peter Brook (b. 1925).\u003c\/p\u003e \u003cp\u003eThe Immediate Theatre (1968).\u003c\/p\u003e \u003cp\u003e53. Peter Weiss (1916–1982).\u003c\/p\u003e \u003cp\u003eNotes on the Contemporary Theatre (1971).\u003c\/p\u003e \u003cp\u003e54. Joyce Carol Oates (b. 1938).\u003c\/p\u003e \u003cp\u003eThe Edge of Impossibility: Tragic Forms in Literature (1972).\u003c\/p\u003e \u003cp\u003e55. Luis Valdez (b. 1940).\u003c\/p\u003e \u003cp\u003eNotes on Chicano Theater (1973).\u003c\/p\u003e \u003cp\u003e56. Augusto Boal (b. 1931).\u003c\/p\u003e \u003cp\u003e“Empathy or What? Emotion or Reason?” and “Experiments with the People’s Theatre in Peru” (1974).\u003c\/p\u003e \u003cp\u003e57. Charles Ludlam (1943–1987).\u003c\/p\u003e \u003cp\u003eRidiculous Theatre, Scourge of Human Folly (1975).\u003c\/p\u003e \u003cp\u003e58. Michael Kirby (b. 1931).\u003c\/p\u003e \u003cp\u003eManifesto of Structuralism (1975).\u003c\/p\u003e \u003cp\u003e59. Wole Soyinka (b. 1934).\u003c\/p\u003e \u003cp\u003eDrama and the African World-View (1976).\u003c\/p\u003e \u003cp\u003e60. Robert Wilson (b. 1941).\u003c\/p\u003e \u003cp\u003e“… I thought I was hallucinating hallucinating” (1977).\u003c\/p\u003e \u003cp\u003e61. Patrice Pavis (b. 1947).\u003c\/p\u003e \u003cp\u003eLanguages of the Stage (1978).\u003c\/p\u003e \u003cp\u003e62. Heiner Müller (1929–1995).\u003c\/p\u003e \u003cp\u003eReflections on Post-Modernism (1979).\u003c\/p\u003e \u003cp\u003e63. Ntozake Shange (b. 1948).\u003c\/p\u003e \u003cp\u003eunrecovered losses\/black theater traditions (1979).\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart V: 1980–2000:.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction to Part V.\u003c\/p\u003e \u003cp\u003e64. Tadeusz Kantor (1915–1990).\u003c\/p\u003e \u003cp\u003eTheatre Happening 1967 (1982).\u003c\/p\u003e \u003cp\u003e65. Jeffrey Huntsman.\u003c\/p\u003e \u003cp\u003eNative American Theatre (1983).\u003c\/p\u003e \u003cp\u003e66. Bert O. States (b. 1929).\u003c\/p\u003e \u003cp\u003eThe World On Stage (1985).\u003c\/p\u003e \u003cp\u003e67. Victor Turner (1920–1983).\u003c\/p\u003e \u003cp\u003eImages and Reflections: Ritual, Drama, Carnival, Film, and Spectacle in Cultural Performance (1987).\u003c\/p\u003e \u003cp\u003e68. Eugenio Barba (b. 1936).\u003c\/p\u003e \u003cp\u003eEurasian Theatre (1988).\u003c\/p\u003e \u003cp\u003e69. Megumi Sata.\u003c\/p\u003e \u003cp\u003eAristotle’s Poetics and Zeami’s Teachings on Style and the Flower (1989).\u003c\/p\u003e \u003cp\u003e70. Jill Dolan.\u003c\/p\u003e \u003cp\u003eDesire Cloaked in a Trenchcoat (1989).\u003c\/p\u003e \u003cp\u003e71. Judith Butler (b. 1956).\u003c\/p\u003e \u003cp\u003eFrom Parody to Politics (1990).\u003c\/p\u003e \u003cp\u003e72. Reza Abdoh (1963–1995).\u003c\/p\u003e \u003cp\u003eLos Angeles (1992).\u003c\/p\u003e \u003cp\u003e73. Richard Foreman (b. 1937).\u003c\/p\u003e \u003cp\u003eFoundations for a Theater (1992).\u003c\/p\u003e \u003cp\u003e74. Suzan-Lori Parks (b. 1964).\u003c\/p\u003e \u003cp\u003eElements of Style (1994).\u003c\/p\u003e \u003cp\u003e75. Rebecca Schneider (b. 1959).\u003c\/p\u003e \u003cp\u003eThe Explicit Body in Performance (1997).\u003c\/p\u003e \u003cp\u003e76. Peggy Phelan (b. 1959).\u003c\/p\u003e \u003cp\u003eMourning Sex: Performing Public Memories (1997).\u003c\/p\u003e \u003cp\u003e77. Erika Fischer-Lichte.\u003c\/p\u003e \u003cp\u003eWritten Drama\/Oral Performance (1997).\u003c\/p\u003e \u003cp\u003e78. Richard Schechner (b. 1934).\u003c\/p\u003e \u003cp\u003eWhat is Performance Studies Anyway? (1998).\u003c\/p\u003e \u003cp\u003e79. Alina Troyano.\u003c\/p\u003e \u003cp\u003eI, Carmelita Tropicana (2000).\u003c\/p\u003e \u003cp\u003e80. Herbert Blau.\u003c\/p\u003e \u003cp\u003eLimits of Performance: The Insane Root (2001).\u003c\/p\u003e \u003cp\u003e81. Mitsuya Mori.\u003c\/p\u003e \u003cp\u003eThe Structure of Theater: A Japanese View of Theatricality (2002).\u003c\/p\u003e \u003cp\u003e82. Heisnam Kanhailal (b. 1941).\u003c\/p\u003e \u003cp\u003eRitual Theatre (Theatre of Transition) (2004).\u003c\/p\u003e \u003cp\u003eTheatre in Theory: Working Units.\u003c\/p\u003e \u003cp\u003eSelected Bibliography.\u003c\/p\u003e \u003cp\u003eIndex\u003c\/p\u003e  \"This book presents perspectives from the era's major playwrights, directors, scholars and philosophers.\" \u003ci\u003eTimes\u003c\/i\u003e \u003ci\u003eHigher Education Supplement\u003c\/i\u003e\u003c!--end--\u003e\u003cbr\u003e \u003cp\u003e“At once comprehensive and original, this collection assembles for the first time an impressive body of theory drawn from a wide range of disciplines and traditions. This will be an indispensable sourcebook for anyone who enjoys not only going to the theatre, but also thinking about it afterwards.”\u003cbr\u003e \u003ci\u003eMartin Puchner, Columbia University\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e“An eclectic anthology of writings on theatre, many made accessible here for the first time. The often bracing juxtaposition of viewpoints from practitioners, playwrights, scholars, and theoreticians reminds us how rich the collective discourse of theatre has been since the beginning of the twentieth century. Bridging the divides that have so often characterized this field, \u003ci\u003eTheatre in Theory\u003c\/i\u003e offers a resounding testament to theatre’s urgency in the modern world.”\u003cbr\u003e \u003ci\u003eStanton B. Garner, Jr., University of Tennessee\u003cbr\u003e \u003c\/i\u003e\u003c\/p\u003e \u003cb\u003eDavid Krasner\u003c\/b\u003e is Associate Professor of Performing Arts and Head of the Acting Program at Emerson College. He is the coeditor (with Rebecca Schneider) of the University of Michigan Press's Series \u003ci\u003eTheater: Theory\/Text\/Performance. \u003c\/i\u003e  \u003ci\u003eTheatre in Theory\u003c\/i\u003e is a wide-ranging anthology documenting twentieth-century dramatic and performance theory. Bringing together the most influential theoretical and critical work in the field, this comprehensive volume encourages readers to think critically about the nature of theatre. The selections offer a rich variety of perspectives on theatrical aesthetics, dramatic criticism, and performance theory from the century’s most prominent playwrights, directors, scholars, and philosophers. \u003cbr\u003e \u003cp\u003eEach section is accompanied by a brief introduction and includes concise supporting commentary and historical information. Documents are situated in their appropriate contexts to provide the reader with a comprehensive understanding of how and why theatre theory has changed over time. It is the most complete collection of its kind to date.\u003c\/p\u003e","brand":"Wiley-Blackwell","offers":[{"title":"Default Title","offer_id":47990378168549,"sku":"NP9781405140430","price":111.5,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9781405140430.jpg?v=1761787584","url":"https:\/\/k12savings.com\/es\/products\/theatre-in-theory-1900-2000-isbn-9781405140430","provider":"K12savings","version":"1.0","type":"link"}