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The Wadsworth Anthology of Drama
ISBN: 9781413029185 | 1413029183
Edition: 5thFormat: Paperback
Publisher: Cengage Learning
Pub. Date: 2/15/2006
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THE WADSWORTH ANTHOLOGY OF DRAMA, BRIEF EDITION offers you a bold and most distinguished introduction to drama packed with exciting plays usefully situated within their historical and cultural contexts.
| Preface | p. vii |
| Introduction: Drama, Theater, and Culture | p. 1 |
| Reading Drama and Seeing Theater | p. 1 |
| Drama and Theater in History | p. 3 |
| Dramatic Genres | p. 5 |
| Dramatic Form | p. 6 |
| The Stage in Critical Practice | p. 7 |
| Interpreting the Material Past | p. 7 |
| Classical Athens | p. 9 |
| The City Dionysia | p. 11 |
| The Theater of Dionysus | p. 12 |
| Theater and Social Life | p. 13 |
| Drama and Performance | p. 15 |
| Women in the Athenian Theater | p. 16 |
| Forms of Greek Drama | p. 16 |
| Greek Drama in Performance History | p. 17 |
| Aside: Roman Drama and Theater | p. 18 |
| Reading the Material Theater | p. 20 |
| Oedipus the King | p. 23 |
| Medea | p. 43 |
| Lysistrata | p. 59 |
| Critical Contexts | |
| from The Poetics | p. 77 |
| Classical Japan | p. 87 |
| The Development of Noh Theater | p. 91 |
| The Development of Doll Theater | p. 94 |
| The Development of Kabuki Theater | p. 96 |
| Classical Japanese Drama in Performance History | p. 99 |
| Aside: Sanskrit Drama and Theater | p. 100 |
| Reading the Material Theater | p. 104 |
| Matsukaze | p. 105 |
| adaptors Chushingura: The Forty-Seven Samurai | p. 112 |
| Critical Contexts | |
| from "A Mirror Held to the Flower" | p. 132 |
| Medieval and Renaissance England | p. 143 |
| Drama and Theater in Medieval England | p. 145 |
| Staging Medieval Drama | p. 148 |
| Drama and Theater in Renaissance London | p. 151 |
| The Professional Theater and Its Society | p. 151 |
| Aside: Shakespeare's Globe | p. 156 |
| Drama and Performance | p. 158 |
| Women in Drama and Performance | p. 159 |
| Aside: The Jacobean Court Masque | p. 160 |
| Medieval and Renaissance Drama in Performance and History | p. 163 |
| Reading the Material Theater | p. 168 |
| Everyman | p. 170 |
| Hamlet | p. 181 |
| The Tempest | p. 229 |
| Critical Contexts | |
| from Apology for Poetry | p. 258 |
| Early Modern Europe | p. 261 |
| The Political Climate | p. 263 |
| Theater in France, 1660-1700 | p. 265 |
| Theater in England, 1660-1737 | p. 267 |
| Theater in Spain's Golden Age, 1580-1680 | p. 269 |
| Dramatic Innovation in France, England, and Spain | p. 272 |
| Aside: Commedia dell' Arte | p. 273 |
| Neoclassicism, Drama, and Theater | p. 274 |
| Early Modern Drama in Performance and History | p. 275 |
| Reading the Material Theater | p. 276 |
| Life Is a Dream | p. 277 |
| Tartuffe | p. 304 |
| The Rover | p. 334 |
| Loa to The Divine Narcissus | p. 369 |
| Critical Contexts | |
| "Preface to Troilus and Cressida, Containing the Grounds of Criticism in Tragedy" | p. 378 |
| Modern Europe | p. 389 |
| Theater and Culture to 1950 | p. 391 |
| Aside: Melodrama | p. 398 |
| Theater and Culture Since 1950 | p. 401 |
| Modern European Drama in Performance and History | p. 406 |
| Reading the Material Theater | p. 407 |
| A Doll House | p. 411 |
| The Importance of Being Earnest | p. 438 |
| The Cherry Orchard | p. 460 |
| Major Barbara | p. 484 |
| Mother Courage and Her Children | p. 518 |
| Endgame | p. 547 |
| Cloud Nine | p. 571 |
| Blasted | p. 600 |
| Critical Contexts | |
| from The Birth of Tragedy | p. 617 |
| from Naturalism in the Theatre | p. 620 |
| "Direction and Acting" | p. 626 |
| "Theatre for Pleasure or Theatre for Instruction" | p. 631 |
| from The Theater and Its Double | p. 634 |
| from Theatre of the Oppressed | p. 640 |
| The United States | p. 647 |
| "The" American Theater? | p. 649 |
| European Influence and American Innovation | p. 650 |
| Postwar Experiments | p. 652 |
| African-American Drama and Theater | p. 653 |
| Aside: The Federal Theater Project | p. 654 |
| Popular Theater and Mass Culture | p. 656 |
| American Drama in Performance and History | p. 657 |
| Aside: Performance Art | p. 658 |
| Reading the Material Theater: Susan Glaspell, "A Jury of Her Peers" | p. 680 |
| Trifles | p. 669 |
| The Glass Menagerie | p. 676 |
| Death of a Salesman | p. 702 |
| Zoot Suit | p. 737 |
| Fences | p. 764 |
| Angels in America, Part 1: Millennium Approaches | p. 791 |
| Critical Contexts | |
| from "Tragedy and the Common Man" | p. 822 |
| from "The Revolutionary Theatre" | p. 824 |
| World Stages | p. 827 |
| A Global Theater? | p. 829 |
| Postcolonial Perspectives | p. 830 |
| Postcolonial Drama in Performance and History | p. 832 |
| Analyzing Postcolonial Theater and Drama | p. 854 |
| Reading the Material Theater | p. 856 |
| Aside: Intercultural Performance | p. 858 |
| Information for Foreigners | p. 859 |
| Translations | p. 880 |
| "Master Harold" ...and the boys | p. 906 |
| Harvest | p. 924 |
| Critical Contexts | |
| from "The Fact of Blackness" | p. 956 |
| Glossary | p. 967 |
| Credits | p. 977 |
| Index | p. 981 |
| Table of Contents provided by Ingram. All Rights Reserved. |
W. B. Worthen is Professor and Chair of the Department of Theater, Dance, and Performance Studies at the University of California, Berkeley
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