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Theatre
, by Cohen, Robert- ISBN: 9780073382180 | 0073382183
- Cover: Paperback
- Copyright: 6/16/2010



This lively introduction to theatre offers equal measures of appreciation of theatrical arts, history of performance, and descriptions of the collaborative theatrical crafts. The author's enthusiasm for and knowledge of the current theatre, highlighted by contemporary production shots from around the world, put the students in the front row. The text includes extensive excerpts from seven plays:Prometheus Bound, Oedipus Tyrannos, The York Cycle, Romeo and Juliet, The Bourgeois Gentleman, The Three Sisters,andHappy Days, as well as shorter excerpts fromThe RoverandA Doll's House.
ROBERT COHEN was the founding chair Drama at the University of California at Irvine, where he continues to serve as the department's Claire Trevor Professor of Drama. He has also been a resident acting teacher at the Actors Center in New York, the Shanghai Theatre Academy, the Korean National Arts University, and the national theatre academies of Hungary, Finland, and Estonia. He is an accomplished stage director, scholar, playwright, drama critic, and teacher. A director by training (Doctor of Fine Arts, Yale Drama School), Cohen has staged thirteen professional productions at the Utah and Colorado Shakespeare Festivals, plus well over a hundred productions at Stages Theatre Center (Hollywood), Virginia Museum Theatre (Richmond), Theatre 40 (Beverly Hills), Image Theatre (Boston), Summer Repertory Theatre (Santa Rosa), the Medieval Drama Project (Irvine), the Manhattan Theatre Source, various universities, and several operas, videos and films. In addition to Theatre and Theatre: Brief Edition, he is also the author of many theatre books, including Acting One, Advanced Acting, Acting in Shakespeare, Acting Professionally, Acting Power, More Power to You, Giraudoux: Three Faces of Destiny, Creative Play Direction, and two dramatic anthologies. His essays have appeared in Theatre Journal, Theatre Topics, Theatre Forum, Theatre Survey, Modern Drama, Theater der Zeit, Essays in Theatre, On Stage Studies, The Drama Review, Contemporary Literature, Contemporary Literary Criticism, Slavic and East European Performance, Experiment and Innovation, and Dramatic Theory and Criticism. Cohen’s play, The Prince, published by Dramatic Publishing Company, has been professionally produced in Long Beach, Pittsburgh, Budapest, and in staged readings in New York and Los Angeles; his dramatic translations (The Bourgeois Gentleman, The Misanthrope, Clizia, Tibi’s Law) and opera translations (The Magic Flute, Carmen) have been both produced and published widely. For the past twenty years, Cohen has been the Southern California drama critic for Plays International, reviewing over two hundred plays. In 1999, he received the national Career Achievement award from ATHE - the Association for Theatre in Higher Education.
| Preface | |
| Introduction | |
| The Theatre: Its Elements | |
| What Is the Theatre? | |
| The Theatre Building | |
| The Company, or Troupe, of Players | |
| The Occupation of Theatre | |
| Work | |
| Art | |
| Impersonation | |
| Performance | |
| Live Performance | |
| Scripted and Rehearsed Performance | |
| What Is a Play? | |
| Classifying Plays | |
| Duration | |
| Genre | |
| Tragedy | |
| Comedy and Other Genres | |
| Dramaturgy: The Construction of Drama and Dramatic Performance | |
| Drama’s Components: The Vertical Axis | |
| Plot | |
| Characters | |
| Theme | |
| Diction | |
| Music | |
| Spectacle | |
| Conventions | |
| Drama's Timeline: The Horizontal Axis | |
| Preplay | |
| Play | |
| Postplay | |
| Non-Aristotelian Theatre Events | |
| The Past | |
| The Ancients | |
| Ritual | |
| Storytelling | |
| Shamanism, Trance, and Magic | |
| The Beginnings of Traditional Drama | |
| Traditional Drama in Sub-Saharan Africa | |
| Nigerian Masquerade | |
| Egyptian Drama | |
| The Greek Theatre | |
| Origins and Evolution | |
| The Birth of the Dithyramb | |
| The Classic Period | |
| The Theatron | |
| The Spectacle | |
| The City Dionysia | |
| The Greek Plays | |
| Prometheus Bound | |
| Oedipus Tyrannos | |
| The Roman Theatre | |
| The Middle Ages | |
| The Quem Queritis: From Trope to Drama | |
| Out of the Church | |
| The Corpus Christi Plays at York | |
| The York Cycle | |
| Medieval Morality Plays | |
| The Renaissance | |
| The Shakespearean Era | |
| The Theatres | |
| The Players | |
| The Plays | |
| The Plays of Shakespeare | |
| Romeo and Juliet | |
| Renaissance Theatre in Italy and Spain | |
| Italy: Machiaveli and the Commedia dell'Arte | |
| Spain's Golden Age | |
| The Theatre of Asia | |
| Theatre in Asia | |
| The Drama of IndiaSanskrit Dance-TheatreKathakali | |
| Chinese Opera: XiquXiqu’s OriginsStaging of Xiqu | |
| The Drama of Japan | |
| No | |
| Kabuki | |
| Kabuki's Origins | |
| Visualizing Kabuki | |
| Kabuki Plays | |
| Kabuki Theatres | |
| Kabuki Scenery | |
| Kabuki Music | |
| Kabuki Actor Families | |
| Kabuki Acting Style | |
| Kabuki Costumes and Wigs | |
| Kabuki Actor-Training and Rehearsals | |
| Kabuki Actors' Assistants | |
| Kabuki Acting Moments | |
| The Kabuki Audience | |
| Kabuki and Artistic Creativity | |
| Kabuki Today | |
| Bunraku: Japan's Puppet Theatre | |
| Asian Theatre Today | |
| The Royal Era | |
| A Theatre for Courts and Kings | |
| Dramaturgy | |
| Staging Practices | |
| The French Theatre | |
| The Royal Court and the Tennis Court | |
| The Public Theatre Audience | |
| Molière | |
| The Bourgeois Gentleman | |
| England: The Restoration Theatre | |
| The Rover | |
| The Modern and the Now | |
| The Modern Theatre: Realism | |
| Romantic Beginnings | |
| Realism: Likeness to Life | |
| A Laboratory | |
| Henrik Ibsen: The Pioneer of Realism | |
| A Doll's House | |
| The Spread of Realism | |
| Naturalism | |
| Anton Chekhov: The High Point of Realism | |
| The Three Sisters | |
| American Realism | |
| Eugene O’Neill | |
| Clifford Odets | |
| Arthur Miller | |
| Tennessee Williams | |
| August Wilson | |
| Realism and the American Cinema | |
| The Modern Theatre: Antirealism | |
| Symbolist Beginnings | |
| The Era of "Isms" | |
| Early Isms and Stylizations: A Sampling of Five Plays | |
| The French Avant-Garde: Ubu Roi | |
| Intellectual Comedy: Man and Superman | |
| Expressionism: The Hairy Ape | |
| Metatheatre: Six Characters in Search of an Author | |
| Theatre of Cruelty: Jet of Blood | |
| Postwar Alienation and Absurdity | |
| Theatre of Alienation: Bertolt Brecht | |
| Theatre of the Absurd: Samuel Beckett | |
| Happy Days | |
| Future Directions in Antirealistic Theatre | |
| The Musical Theatre | |
| The Role of Music in Theatre History | |
| The Development of the Broadway Musical: America's Contribution | |
| Musical Comedy: Gershwin, Kern, Darktown Follies, and Rodgers and Hart | |
| A Golden Age | |
| The Contemporary Musical | |
| The Emergence of Choreographer-Directors | |
| Stephen Sondheim | |
| Black Musicals | |
| Foreign Invasions: British, French, Swedish, and Disney | |
| Musicals of the Twenty-first Century | |
| Theatre Today | |
| What's Happening? | |
| A Theatre of Postmodern Experiment | |
| A Nonlinear Theatre | |
| An Open Theatre | |
| A Diverse Theatre | |
| Photo Essay: Theatre in the Borderlands | |
| A Global Theatre | |
| A Macaronic Theatre | |
| A Theatre of Difference | |
| A Theatre of Nontraditional Casting | |
| Spectacular Theatre | |
| Verbatim Theatre | |
| A Dangerous Theatre | |
| A Theatre of Community | |
| Movement Art and Dance-Theatre | |
| Solo Performance | |
| Three Theatre-Makers in the Theatre Today | |
| Peter Brook | |
| Robert Wilson | |
| Julie Taymor | |
| Theatre Today: Where Can You Find It? | |
| New York City | |
| Broadway | |
| Off-Broadway and Off-Off-Broadway | |
| Regional American Theatre: Not for Profit | |
| Boston | |
| Chicago | |
| Los Angeles | |
| Minneapolis | |
| Seattle | |
| Washington, D.C. | |
| Shakespeare Festivals | |
| Summer and Dinner Theatres | |
| Amateur Theatre: Academic and Community | |
| International Theatre | |
| Beyond North America | |
| Conclusions about Theatre Today? | |
| The Practioners | |
| The Actor | |
| What Is Acting? | |
| The Paradox of Acting - from Socrates to Stanislavsky | |
| Acting Today | |
| Acting from the Inside: The Stanislavsky Legacy | |
| Emotion Memory | |
| Acting from the Outside | |
| The Actor as Virtuoso | |
| Putting It Together | |
| Magic | |
| Becoming an Actor | |
| The Approach | |
| The Actor's Instrument | |
| Voice and Speech | |
| The Psychological Instrument | |
| Photo Essay: Actor Patrick Stewart | |
| Movement | |
| Discipline | |
| The Actor's Routine | |
| Audition | |
| Rehearsal | |
| Performance | |
| The Actor in Life | |
| The Playwright | |
| We Are All Playwrights | |
| Literary and Nonliterary Aspects of Playwrighting | |
| Playwrighting as Event Writing | |
| The Qualities of a Fine Play | |
| Credibility and Intrigue | |
| Speakability, Stageability, and Flow | |
| Richness | |
| Depth of Characterization | |
| Gravity and Pertinence | |
| Compression, Economy, and Intensity | |
| Celebration | |
| The Playwright's Process | |
| Dialogue | |
| Conflict | |
| Structure | |
| The Playwright's Rewards | |
| A Sampling of Current American Playwrights | |
| David Mamet | |
| Tony Kushner | |
| David Henry Hwang | |
| Neil LaBute | |
| Lynn Nottage | |
| Photo Essay: Playwright Neil LaBute | |
| Designers and Technicians | |
| The Design Process | |
| What Design Does | |
| Scenery | |
| Scenic Materials | |
| The Scene Designer at Work | |
| Photo Essay: Scene Designer Tony Walton | |
| The Scene Designer at Work | |
| Lighting | |
| Modern Lighting Design | |
| The Lighting Designer at Work | |
| Photo Essay: Lighting Designer Don Holder | |
| Costumes | |
| The Functions of Costume | |
| The Costume Designer at Work | |
| Photo Essay: Costume Designer Catherine Zuber | |
| Makeup | |
| Sound Design | |
| Photo Essay: Sound Designer Scott Lehrer | |
| Projection Design | |
| Special Effects | |
| Digital Technologies in Theatre Design | |
| The Technical Production Team | |
| Photo Essay: Stage Manager Michael McGoff | |
| The Director | |
| The Arrival of the Director: A Historical Overview | |
| Teacher-Directors | |
| Realistic Directors | |
| Stylizing Directors | |
| The Contemporary Director | |
| Photo Essay: Director Susan Stroman | |
| Director and Producer | |
| Vision and Leadership | |
| Play Selection | |
| Conceptualizing | |
| Designer Selection | |
| Director-Designer Collaboration | |
| Photo Essay: The School for Wives | |
| Casting | |
| Implementation | |
| Staging | |
| Actor-Coaching | |
| Pacing | |
| Coordinating | |
| Presenting | |
| The Training of a Director | |
| The Critic and the Dramaturg | |
| Critical and Dramaturgical Perspectives | |
| Social Significance | |
| Human Significance | |
| Artistic Quality | |
| Relationship to the Theatre Itself | |
| Entertainment Value | |
| Critical and Dramaturgical Focus | |
| Professional Criticism | |
| Professional Dramaturgy | |
| Student Criticism and Dramaturgy | |
| We Are the Critics | |
| Glossary | |
| Selected Bibliography | |
| Credits | |
| Index | |
| Table of Contents provided by Publisher. All Rights Reserved. |
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