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Theatre in Theory 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. Includes major theoretical and critical manifestos, hypotheses, and theories from the field Wide-ranging and broadly constructed, this text has both interdisciplinary and global appeal Includes a thematic index, section introductions, and supporting commentary Helps students, teachers, and practitioners to think critically about the nature of theatre
Featuring the writings of Wilde, Brecht, T.S. Eliot, and Tennessee Williams, among many others, this book considers theatrical aesthetics, dramatic criticism, and performance theory to help students, teachers and practitioners to think critically about the nature of theatre.
Art in Theory 1648-1815 provides a wide-ranging and comprehensive collection of documents on the theory of art from the founding of the French Academy until the end of the Napoleonic Wars.
This incredibly useful volume offers an introduction to the history of literary criticism and theory from ancient Greece to the present. Grounded in the close reading of landmark theoretical texts, while seeking to encourage the reader's critical response, Pelagia Goulimari examines: major thinkers and critics from Plato and Aristotle to Foucault, Derrida, Kristeva, Said and Butler; key concepts, themes and schools in the history of literary theory: mimesis, inspiration, reason and emotion, the self, the relation of literature to history, society, culture and ethics, feminism, poststructuralism, postcolonialism, queer theory; genres and movements in literary history: epic, tragedy, comedy, the novel; Romanticism, realism, modernism and postmodernism. Historical connections between theorists and theories are traced and the book is generously cross-referenced. With useful features such as key-point conclusions, further reading sections, descriptive text boxes, detailed headings, and with a comprehensive index, this book is the ideal introduction to anyone approaching literary theory for the first time or unfamiliar with the scope of its history.
Theatre History Studies is a peer-reviewed journal of theatre history and scholarship published annually since 1981 by the Mid-American Theatre Conference (MATC), a regional body devoted to theatre scholarship and practice. The purpose of MATC is to unite people and organizations in their region with an interest in theatre and to promote the growth and development of all forms of theatre.
The fifteen original essays in Staging Philosophy make useful connections between the discipline of philosophy and the fields of theater and performance and use these insights to develop new theories about theater. Each of the contributors—leading scholars in the fields of performance and philosophy—breaks new ground, presents new arguments, and offers new theories that will pave the way for future scholarship. Staging Philosophy raises issues of critical importance by providing case studies of various philosophical movements and schools of thought, including aesthetics, analytic philosophy, phenomenology, deconstruction, critical realism, and cognitive science. The essays, which are organized into three sections—history and method, presence, and reception—take up fundamental issues such as spectatorship, empathy, ethics, theater as literature, and the essence of live performance. While some essays challenge assertions made by critics and historians of theater and performance, others analyze the assumptions of manifestos that prescribe how practitioners should go about creating texts and performances. The first book to bridge the disciplines of theater and philosophy, Staging Philosophy will provoke, stimulate, engage, and ultimately bring theater to the foreground of intellectual inquiry while it inspires further philosophical investigation into theater and performance. David Krasner is Associate Professor of Theater Studies, African American Studies, and English at Yale University. His books include A Beautiful Pageant: African American Theatre, Drama, and Performance in the Harlem Renaissance, 1910-1920 and Renaissance, Parody, and Double Consciousness in African American Theatre, 1895-1910. He is co-editor of the series Theater: Theory/Text/Performance. David Z. Saltz is Professor of Theatre Studies and Head of the Department of Theatre and Film Studies at the University of Georgia. He is coeditor of Theater Journal and is the principal investigator of the innovative Virtual Vaudeville project at the University of Georgia.
Playwright Tony Kushner is a voice of intellectualism, neo-socialism, gay activism and political outrage in an era when the political pendulum has swayed to the right. Through scalding humor, thought, and compassion, he explores political dynamics and the human condition in the modern era, shedding light on and giving hope for the direst of circumstances. His best known work, Angels in America, delves beneath the anti-gay rhetoric and political superficiality of the AIDS pandemic to true suffering and transformation. His political epic Homebody/Kabul engages the issue of terrorism and conflicting fundamental beliefs. In this book 11 scholars explore the works of Tony Kushner across his career. Several address Angels: one explores the presentation of homosexuality by Kushner compared to that of Tennessee Williams, who wrote in a less tolerant era; another places Angels in the contexts of Hegel's concept of freedom and the gay revolution; a third discusses the play in terms of queer theory and politics. Homebody/Kabul is examined in two essays, one analyzing media reaction, the other exploring cultural and economic differences, religious fundamentalism and the "West's luxurious predominance in the world." Other studies address relationships in Kushner's works to William Inge's 1950 play Come Back, Little Sheba; the plays of experimentalist Adrienne Kennedy; and fascist creep in the era of playwrights W.H. Auden and Christopher Isherwood, among other topics.
The book uses the long-standing theatre metaphor to bring political spectators out into the open, finding that they can be politically powerful. Filling out the metaphor with theatre theory, the book also finds that the metaphor can produce a viable model of democratic politics that incorporates spectators in a positive, meaningful way.
The first detailed, student-focused introduction to modernist avant-garde performanceThis textbook introduces the reader to modernist avant-garde theatre. It clearly explains the key terms as well as the major movements, including Expressionism, Dadaism, Futurism, Workers theatres, Constructivism and the Living Newspaper, and Mass Performance, using a case study approach. It introduces the important innovations of the modernist avant-garde, reassesses theatrical techniques, and provides examples of plays and performances from across Europe and America. There are also chapters on The Modernist Body and on Interdisciplinary Performance. The book approaches the modernist avant-garde both as an area of academic study and as potential raw material for contemporary performance. Key Features:nbsp;The first introductory guide to the modernist theatrical avant-garde nbsp;Includes case studies, practical exercises at the end of each chapter, an annotated bibliography and a glossary of performance termsnbsp;Includes links to performance-based explorations of theatrical techniquesnbsp;Provides a springboard for further independent study, both theoretical and practicalClaire Warden is Senior Lecturer in Drama at the University of Lincoln. Her research focuses primarily on constructing new, fluid narratives for modernist performance. She is the author of British Avant-Garde Theatre (Palgrave MacMillan 2012), and multiple journal articles and book chapters on modernism, interdisciplinarity, theatre, art and cultural studies.
Covering the period 1879 to 1959, and taking in everything from Ibsen to Beckett, this book is volume one of a two-part comprehensive examination of the plays, dramatists, and movements that comprise modern world drama. Contains detailed analysis of plays and playwrights, connecting themes and offering original interpretations Includes coverage of non-English works and traditions to create a global view of modern drama Considers the influence of modernism in art, music, literature, architecture, society, and politics on the formation of modern dramatic literature Takes an interpretative and analytical approach to modern dramatic texts rather than focusing on production history Includes coverage of the ways in which staging practices, design concepts, and acting styles informed the construction of the dramas