{"product_id":"theatre-in-theory-1900-2000-isbn-9781405140447","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 \u003cp\u003eAcknowledgments xi\u003c\/p\u003e \u003cp\u003eIntroduction 1\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart I 1900–1920 35\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction to Part I 35\u003c\/p\u003e \u003cp\u003e1 August Strindberg (1849–1912) 37\u003c\/p\u003e \u003cp\u003ePreface to Miss Julie (1888) 38\u003c\/p\u003e \u003cp\u003e2 Oscar Wilde (1854–1900) 46\u003c\/p\u003e \u003cp\u003eThe Decay of Lying: An Observation (1889) 47\u003c\/p\u003e \u003cp\u003e3 Henri Bergson (1859–1941) 51\u003c\/p\u003e \u003cp\u003eLaughter (Le Rire, 1900) 52\u003c\/p\u003e \u003cp\u003e4 Valery Bryusov (1873–1924) 55\u003c\/p\u003e \u003cp\u003eAgainst Naturalism in the Theatre (from ‘‘Unnecessary Truth’’) (1902) 56\u003c\/p\u003e \u003cp\u003e5 Romain Rolland (1866–1944) 61\u003c\/p\u003e \u003cp\u003eThe People’s Theatre (1903) 61\u003c\/p\u003e \u003cp\u003e6 Maurice Maeterlinck (1862–1949) 64\u003c\/p\u003e \u003cp\u003eThe Modern Drama (1904) 65\u003c\/p\u003e \u003cp\u003e7 Aida Overton Walker (1880–1914) 71\u003c\/p\u003e \u003cp\u003eColored Men and Women on the Stage (1905) 71\u003c\/p\u003e \u003cp\u003e8 Vsevolod Vaslov Meyerhold (1874–1940) 75\u003c\/p\u003e \u003cp\u003eThe Naturalistic Theatre and the Theatre of Mood (1908) 76\u003c\/p\u003e \u003cp\u003e9 Edward Gordon Craig (1872–1966) 88\u003c\/p\u003e \u003cp\u003eThe Actor and the Über-marionette (1908) 88\u003c\/p\u003e \u003cp\u003e10 William Butler Yeats (1865–1939) 99\u003c\/p\u003e \u003cp\u003eThe Tragic Theatre (1910) 100\u003c\/p\u003e \u003cp\u003e11 George Bernard Shaw (1856–1950) 104\u003c\/p\u003e \u003cp\u003eAgainst the Well-Made Play (1911) 105\u003c\/p\u003e \u003cp\u003e12 F. T. Marinetti (1876–1944) 110\u003c\/p\u003e \u003cp\u003eFuturism and the Theatre (1913) 111\u003c\/p\u003e \u003cp\u003e13 Georg Lukács (1885–1971) 116\u003c\/p\u003e \u003cp\u003eThe Sociology of Modern Drama (1914) 117\u003c\/p\u003e \u003cp\u003e14 Emma Goldman (1869–1940) 131\u003c\/p\u003e \u003cp\u003eForeword to The Social Significance of Modern Drama (1917) 131\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart II 1920–1940 135\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction to Part II 135\u003c\/p\u003e \u003cp\u003e15 Luigi Pirandello (1867–1936) 139\u003c\/p\u003e \u003cp\u003eOn Comedy (1920) 139\u003c\/p\u003e \u003cp\u003e16 Stanislaw Witkiewicz (1885–1939) 144\u003c\/p\u003e \u003cp\u003eOn a New Type of Play (1920) 145\u003c\/p\u003e \u003cp\u003e17 Adolphe Appia (1862–1928) 149\u003c\/p\u003e \u003cp\u003eOrganic Unity (1921) 150\u003c\/p\u003e \u003cp\u003e18 Georg Kaiser (1878–1945) 155\u003c\/p\u003e \u003cp\u003eMan in the Tunnel, or: The Poet and the Play (1923) 156\u003c\/p\u003e \u003cp\u003e19 Alain Locke (1886–1954) 158\u003c\/p\u003e \u003cp\u003eThe Negro and the American Stage (1926) 159\u003c\/p\u003e \u003cp\u003eThe Drama of Negro Life (1926) 161\u003c\/p\u003e \u003cp\u003e20 W. E. B. Du Bois (1868–1963) 164\u003c\/p\u003e \u003cp\u003e‘‘Krigwa Players Little Negro Theatre’’: The Story of a Little Theatre Movement (1926) 165\u003c\/p\u003e \u003cp\u003eCriteria of Negro Art (1926) 165\u003c\/p\u003e \u003cp\u003e21 Bertolt Brecht (1898–1956) 169\u003c\/p\u003e \u003cp\u003eThe Modern Theatre is the Epic Theatre (1930) 171\u003c\/p\u003e \u003cp\u003eTheatre for Pleasure or Theatre for Instruction (ca. 1936) 173\u003c\/p\u003e \u003cp\u003eAlienation Effect in Chinese Acting (1936) 178\u003c\/p\u003e \u003cp\u003e22 Eugene O’Neill (1888–1953) 185\u003c\/p\u003e \u003cp\u003eMemoranda on Masks (1932) 185\u003c\/p\u003e \u003cp\u003eSecond Thoughts (1932) 187\u003c\/p\u003e \u003cp\u003eA Dramatist’s Notebook (1933) 188\u003c\/p\u003e \u003cp\u003e23 Gertrude Stein (1874–1946) 190\u003c\/p\u003e \u003cp\u003ePlays (1934) 191\u003c\/p\u003e \u003cp\u003e24 Zora Neale Hurston (1891–1960) 195\u003c\/p\u003e \u003cp\u003eCharacteristics of Negro Expression (1934) 196\u003c\/p\u003e \u003cp\u003e25 Federico García Lorca (1899–1936) 203\u003c\/p\u003e \u003cp\u003eThe Prophecy of Lorca (1934) 203\u003c\/p\u003e \u003cp\u003e26 Antonin Artaud (1896–1949) 206\u003c\/p\u003e \u003cp\u003eOn the Balinese Theatre (1938) 207\u003c\/p\u003e \u003cp\u003eNo More Masterpieces (1938) 216\u003c\/p\u003e \u003cp\u003e27 Walter Benjamin (1892–1940) 222\u003c\/p\u003e \u003cp\u003eWhat is Epic Theatre? (1939) 223\u003c\/p\u003e \u003cp\u003e28 Maxwell Anderson (1888–1959) 228\u003c\/p\u003e \u003cp\u003eThe Essence of Tragedy (1939) 228\u003c\/p\u003e \u003cp\u003e29 Karel Brušák (1913–2004) 234\u003c\/p\u003e \u003cp\u003eSigns in the Chinese Theatre (1939) 235\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart III 1940–1960 245\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction to Part III 245\u003c\/p\u003e \u003cp\u003e30 Jindřich Honzl (1894–1953) 249\u003c\/p\u003e \u003cp\u003eDynamics of the Sign in the Theatre (1940) 249\u003c\/p\u003e \u003cp\u003e31 Thornton Wilder (1897–1975) 258\u003c\/p\u003e \u003cp\u003eSome Thoughts on Playwrighting (1941) 258\u003c\/p\u003e \u003cp\u003e32 Arthur Miller (1915–2005) 266\u003c\/p\u003e \u003cp\u003eTragedy and the Common Man (1949) 267\u003c\/p\u003e \u003cp\u003e33 T. S. Eliot (1888–1965) 270\u003c\/p\u003e \u003cp\u003ePoetry and Drama (1950) 270\u003c\/p\u003e \u003cp\u003e34 Tennessee Williams (1911–1983) 274\u003c\/p\u003e \u003cp\u003eThe Timeless World of the Play (1951) 274\u003c\/p\u003e \u003cp\u003e35 John Gassner (1903–1967) 278\u003c\/p\u003e \u003cp\u003e‘‘Enlightenment’’ and Modern Drama (1954) 278\u003c\/p\u003e \u003cp\u003e36 Friedrich Dürrenmatt (1921–1990) 287\u003c\/p\u003e \u003cp\u003eProblems of the Theatre (1955) 287\u003c\/p\u003e \u003cp\u003e37 Sean O’Casey (1880–1964) 293\u003c\/p\u003e \u003cp\u003eGreen Goddess of Realism (1956) 293\u003c\/p\u003e \u003cp\u003e38 Eric Bentley (b. 1916) 298\u003c\/p\u003e \u003cp\u003eWhat is Theatre? A Point of View (1956) 298\u003c\/p\u003e \u003cp\u003e39 Northrop Frye (1912–1991) 302\u003c\/p\u003e \u003cp\u003eSpecific Forms of Drama (1957) 302\u003c\/p\u003e \u003cp\u003e40 Eugène Ionesco (1909–1994) 309\u003c\/p\u003e \u003cp\u003eThe Avant-Garde Theatre (1960) 309\u003c\/p\u003e \u003cp\u003e41 Jean-Paul Sartre (1905–1980) 317\u003c\/p\u003e \u003cp\u003eBeyond Bourgeois Theatre (1960) 318\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart IV 1960–1980 325\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction to Part IV 325\u003c\/p\u003e \u003cp\u003e42 Martin Esslin (1918–2002) 329\u003c\/p\u003e \u003cp\u003eThe Theatre of the Absurd (1961) 329\u003c\/p\u003e \u003cp\u003e43 George Steiner (b. 1929) 333\u003c\/p\u003e \u003cp\u003eThe Death of Tragedy (1961) 333\u003c\/p\u003e \u003cp\u003e44 Roland Barthes (1915–1980) 336\u003c\/p\u003e \u003cp\u003eThe Task of Brechtian Criticism (1956) 336\u003c\/p\u003e \u003cp\u003eTheatre and Signification (1963) 340\u003c\/p\u003e \u003cp\u003e45 Lionel Abel (1910–2001) 342\u003c\/p\u003e \u003cp\u003eOf Bert Brecht – Not Simple but Simplified (1963) 343\u003c\/p\u003e \u003cp\u003e46 Francis Fergusson (1904–1986) 345\u003c\/p\u003e \u003cp\u003eThe Notion of ‘‘Action’’ (1964) 345\u003c\/p\u003e \u003cp\u003e47 Peter Szondi (1929–1971) 348\u003c\/p\u003e \u003cp\u003eThe Drama (1965) 349\u003c\/p\u003e \u003cp\u003e48 Kenneth Burke (1897–1993) 352\u003c\/p\u003e \u003cp\u003eDramatic Form – And: Tracking Down Implications (1966) 352\u003c\/p\u003e \u003cp\u003e49 Jacques Derrida (1930–2004) 360\u003c\/p\u003e \u003cp\u003eTheatre of Cruelty and the Closure of Representation (1966) 361\u003c\/p\u003e \u003cp\u003e50 Jerzy Grotowski (1933–1999) 366\u003c\/p\u003e \u003cp\u003eTowards the Poor Theatre (1967) 367\u003c\/p\u003e \u003cp\u003e51 Raymond Williams (1921–1988) 373\u003c\/p\u003e \u003cp\u003eDrama from Ibsen to Brecht (1968) 373\u003c\/p\u003e \u003cp\u003e52 Peter Brook (b. 1925) 378\u003c\/p\u003e \u003cp\u003eThe Immediate Theatre (1968) 378\u003c\/p\u003e \u003cp\u003e53 Peter Weiss (1916–1982) 381\u003c\/p\u003e \u003cp\u003eNotes on the Contemporary Theatre (1971) 381\u003c\/p\u003e \u003cp\u003e54 Joyce Carol Oates (b. 1938) 387\u003c\/p\u003e \u003cp\u003eThe Edge of Impossibility: Tragic Forms in Literature (1972) 387\u003c\/p\u003e \u003cp\u003e55 Luis Valdez (b. 1940) 390\u003c\/p\u003e \u003cp\u003eNotes on Chicano Theater (1973) 390\u003c\/p\u003e \u003cp\u003e56 Augusto Boal (b. 1931) 394\u003c\/p\u003e \u003cp\u003e‘‘Empathy or What? Emotion or Reason?’’ and ‘‘Experiments with the People’s Theatre in Peru’’ (1974) 394\u003c\/p\u003e \u003cp\u003e57 Charles Ludlam (1943–1987) 397\u003c\/p\u003e \u003cp\u003eRidiculous Theatre, Scourge of Human Folly (1975) 397\u003c\/p\u003e \u003cp\u003e58 Michael Kirby (b. 1931) 399\u003c\/p\u003e \u003cp\u003eManifesto of Structuralism (1975) 400\u003c\/p\u003e \u003cp\u003e59 Wole Soyinka (b. 1934) 402\u003c\/p\u003e \u003cp\u003eDrama and the African World-View (1976) 402\u003c\/p\u003e \u003cp\u003e60 Robert Wilson (b. 1941) 408\u003c\/p\u003e \u003cp\u003e‘‘. . . I thought I was hallucinating hallucinating’’ (1977) 408\u003c\/p\u003e \u003cp\u003e61 Patrice Pavis (b. 1947) 411\u003c\/p\u003e \u003cp\u003eLanguages of the Stage (1978) 411\u003c\/p\u003e \u003cp\u003e62 Heiner Müller (1929–1995) 419\u003c\/p\u003e \u003cp\u003eReflections on Post-Modernism (1979) 419\u003c\/p\u003e \u003cp\u003e63 Ntozake Shange (b. 1948) 423\u003c\/p\u003e \u003cp\u003eunrecovered losses\/black theater traditions (1979) 423\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart V 1980–2000 427\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eIntroduction to Part V 427\u003c\/p\u003e \u003cp\u003e64 Tadeusz Kantor (1915–1990) 431\u003c\/p\u003e \u003cp\u003eTheatre Happening 1967 (1982) 431\u003c\/p\u003e \u003cp\u003e65 Jeffrey E. Huntsman 434\u003c\/p\u003e \u003cp\u003eNative American Theatre (1983) 434\u003c\/p\u003e \u003cp\u003e66 Bert O. States (b. 1929) 441\u003c\/p\u003e \u003cp\u003eThe World On Stage (1985) 441\u003c\/p\u003e \u003cp\u003e67 Victor Turner (1920–1983) 448\u003c\/p\u003e \u003cp\u003eImages and Reflections: Ritual, Drama, Carnival, Film, and Spectacle in Cultural Performance (1987) 448\u003c\/p\u003e \u003cp\u003e68 Eugenio Barba (b. 1936) 455\u003c\/p\u003e \u003cp\u003eEurasian Theatre (1988) 455\u003c\/p\u003e \u003cp\u003e69 Megumi Sata 460\u003c\/p\u003e \u003cp\u003eAristotle’s Poetics and Zeami’s Teachings on Style and the Flower (1989) 460\u003c\/p\u003e \u003cp\u003e70 Jill Dolan 469\u003c\/p\u003e \u003cp\u003eDesire Cloaked in a Trenchcoat (1989) 470\u003c\/p\u003e \u003cp\u003e71 Judith Butler (b. 1956) 476\u003c\/p\u003e \u003cp\u003eFrom Parody to Politics (1990) 477\u003c\/p\u003e \u003cp\u003e72 Reza Abdoh (1963–1995) 483\u003c\/p\u003e \u003cp\u003eLos Angeles (1992) 483\u003c\/p\u003e \u003cp\u003e73 Richard Foreman (b. 1937) 489\u003c\/p\u003e \u003cp\u003eFoundations for a Theater (1992) 489\u003c\/p\u003e \u003cp\u003e74 Suzan-Lori Parks (b. 1964) 494\u003c\/p\u003e \u003cp\u003eElements of Style (1994) 494\u003c\/p\u003e \u003cp\u003e75 Rebecca Schneider (b. 1959) 500\u003c\/p\u003e \u003cp\u003eThe Explicit Body in Performance (1997) 500\u003c\/p\u003e \u003cp\u003e76 Peggy Phelan (b. 1959) 505\u003c\/p\u003e \u003cp\u003eMourning Sex: Performing Public Memories (1997) 505\u003c\/p\u003e \u003cp\u003e77 Erika Fischer-Lichte 509\u003c\/p\u003e \u003cp\u003eWritten Drama\/Oral Performance (1997) 509\u003c\/p\u003e \u003cp\u003e78 Richard Schechner (b. 1934) 517\u003c\/p\u003e \u003cp\u003eWhat is Performance Studies Anyway? (1998) 518\u003c\/p\u003e \u003cp\u003e79 Alina Troyano 523\u003c\/p\u003e \u003cp\u003eI, Carmelita Tropicana (2000) 523\u003c\/p\u003e \u003cp\u003e80 Herbert Blau 533\u003c\/p\u003e \u003cp\u003eLimits of Performance: The Insane Root (2001) 533\u003c\/p\u003e \u003cp\u003e81 Mitsuya Mori 539\u003c\/p\u003e \u003cp\u003eThe Structure of Theater: A Japanese View of Theatricality (2002) 539\u003c\/p\u003e \u003cp\u003e82 Heisnam Kanhailal (b. 1941) 549\u003c\/p\u003e \u003cp\u003eRitual Theatre (Theatre of Transition) (2004) 550\u003c\/p\u003e \u003cp\u003eTheatre in Theory: Working Units 555\u003c\/p\u003e \u003cp\u003eSelected Bibliography 557\u003c\/p\u003e \u003cp\u003eIndex 558\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":47990377939173,"sku":"NP9781405140447","price":57.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9781405140447.jpg?v=1761787583","url":"https:\/\/k12savings.com\/es\/products\/theatre-in-theory-1900-2000-isbn-9781405140447","provider":"K12savings","version":"1.0","type":"link"}