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A Concise History of Theatre

by: Patterson, Jim A.; Donohue, Tim

A Concise History of Theatre

by: Patterson, Jim A.; Donohue, Tim

ISBN 13: 9780205209828
ISBN 10: 0205209823
Edition: 1st
Format: Paperback
Copyright: 01/04/2013
Publisher: Pearson

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A Concise History of Theatre > ISBN13: 9780205209828

Summary

Focuses on the cultural significance of theatre

This streamlined, engaging text helps students understand the events, places and people that have influenced the history of theatre.

Learning Goals

Upon completing this book, readers will be able to:

Identify the major time periods and geographic areas associated with the history of theatre
Distinguish relevant characteristics of theatre in diverse times and places.
Describe the underlying cultural, economic, and political environments as they affected theatre in different times and places.
Associate major participants who made theatre within their historical and regional context.

Author Biography

Jim Patterson is a co-author of Stage Money: The Business of Professional Theater, Theater Careers: A Realistic Guide, Theatre in the Secondary School Classroom, and the seventh, eighth, and ninth editions of The Enjoyment of Theatre. He also wrote Stage Directing: The First Experiences. Jim Patterson spent three decades teaching at the University of South Carolina, where he headed the MFA directing program, served as Director of Undergraduate Studies, and directed the department’s summer theatre program. Now a Distinguished Professor Emeritus, Jim has been recognized for his work by the South Carolina Theatre Association and the South Carolina Speech Communication Association. He has directed over 140 stage productions plus numerous training films. He is a member of the Stage Directors and Choreographers Society.

Tim Donahue is co-author of Stage Money: The Business of the Professional Theater, Theater Careers: A Realistic Guide, and the ninth edition of The Enjoyment of Theatre. He holds an M.B.A. from the University of South Carolina, where he retired from the Department of Theatre and Dance as the director of marketing and development after nearly ten years.

Introduction: the Theatre of Many Times and Places
The Past in the Present
Theatre: A Definition
Language And Its Problems
Theatre-Like Activities
Rituals
Paratheatrical, or Theatre-like Forms
Historical Evidence, Emphasis, and Omissions
Organization

Chapter 1: Greek Theatre
Objectives
Context
Theories of the Origins of Theatre
Aristotle’s Theory
The Ritual Theory
The Great Man Theory
The Storytelling Theory
The Dance Theory
Uncertainty About Origins
Traits of Greek Theatre
Closely Associated with Greek Religion
Performed Only on Special Occasions—the Festivals
Choral
All Male
Competitive
Not a Commercial Activity
Plays and Playwrights
Thespis
Aeschylus
Sophocles
Euripides
Aristophanes and Old Comedy
Theatre Buildings and Practices
Audience
Acting
Settings and Machinery
Costumes and Masks
The Hellenistic Period
An Altered Greek Drama and Theatres
Aristotle’s Poetics
Mime
The Shift to Rome
Chapter 1 at a Glance
Key Terms
Captions
The Play’s the Thing: Sophocles’ Oedipus Rex, 427 BCE
The Story of the Play
How We Know: Paintings on Greek Vases
How We Know: Menander and The Grouch

Chapter 2: Roman Theatre 240 BCE - 550 CE
Objectives
Context
Roman Festivals and Theatre of the Republic
Tragedy and Comedy, Mostly Comedy
Plautus
Terence
Three Important Texts
Vitruvius
Horace
Seneca
Theatre Buildings, Scenery, Costumes, and Masks
Paratheatrical Entertainments
Christian Opposition to Theatre
The Breakup of the Empire
The Eastern (Byzantine) Empire and Theatre
Chapter 2 at a Glance
Key Terms
Captions
The Play’s the Thing: Plautus’s The Menaechmi
The Story of the Play
How We Know: Theatre in an Ordinary Roman Town

Chapter 3: Early Theatre of Asia 200 BCE - 1800 CE
Objectives
Context
India
The Natyasastra
Indian Folk Theatre Traditions
China
Paratheatrical Beginnings
Kunqu Opera
Japan
Paratheatrical Beginnings
Noh Drama
Noh Staging Practices
Kabuki
Summary
Chapter 3 at a Glance
Key Terms
Captions
The Play's the Thing: Shakuntala
The Story of the Play
The Play's the Thing: Li Xingdao's Chalk Circle
The Story of the Play
How We Know: Shakuntala’s First Translation
The Play's the Thing: The Peony Pavilion
The Story of the Play

Chapter 4: The European Middle Ages
Objectives
Context
Early Medieval Drama and Theatre: 476 to 1200
Hroswitha in Germany and Bishop Ethelwold in England
Production inside the Church
Later Medieval Culture and Theatre, c. 1200–1550
Religious Drama outside the Church
Staging Religious Plays outside the Church
Fixed and Movable Staging
Scaffolds
Pageants
Costumes
Audiences
Secular Drama
Production of Secular Plays
The End of Medieval Religious Theatre: The Transformation of Medieval Secular Theatre
Summary
Chapter 4 at a Glance
Key Terms
Captions
How We Know: Bishop Ethelwold’s Stage Directions for the Quem Quaeritis Trope
The Play’s the Thing: The Second Shepherds' Play, Anonymous
The Story of the Play
How We Know: Pageant Wagons
The Play’s the Thing: Everyman, Anonymous, c. 1490
The Story of the Play
How We Know: Oberammergau Passion Play

Chapter 5: The Italian Renaissance
Objectives
Context
Humanism
Secularism
Reformation
A Widening World
The Fall of Constantinople
The Printing Press
The Arts
Mainstream Theatre
Theory: Neoclassicism
Practice: Italian Renaissance Drama
Illusionism
Vitruvius in the Renaissance
Perspective
Renaissance Theatres
Teatro Olimpico
Sabbioneta Theatre
Teatro Farnese
Stage Settings for Illusionistic Theatre
Movable Scenery
Contradiction in Mainstream Theatre
An Alternative Theatre: Commedia dell’Arte
Commedia Characters
Commedia’s Influence
Commedia’s Roots
Italy: Eclipse
Chapter 5 at a Glance
Key Terms
Captions
How We Know: Commedia Scenarios
Act One, Flavio's Good Fortune

Chapter 6:   The Golden Ages of England and Spain
Objectives
Context
The Age of Shakespeare
Theatre Architecture
Audiences
Production Practices
Actors and Acting
Acting Companies
Plays and Playwrights
Stuart Dramatists
Shakespeare’s Legacy
Court Masques and New Conventions: Inigo Jones
Production Practices
Significance
The Closing of English Theatres
Spain in the Golden Age
Women as Audience and as Actors
Spanish Public Theatres
The Corral del Principe
Plays and Playwrights
Summary
Chapter 6 at a Glance
Key Terms
Captions
The Play’s The Thing: Calderon de la Barca’s Life is a Dream, 1635
The Story of the Play
How We Know: The Swan Drawing
How We Know: Philip Henslowe’s Inventory
How We Know: Three Public Theatres

Chapter 7:   Neoclassicism: Triumph and Decline in France and England
Objectives
Context
French Theatre through Its Golden Age
Neoclassicism: Corneille and Le Cid
Italianate Staging: Public Versus Court Theatres
The Sun King and the Golden Age
Playwrights
Theatre Companies
Sentimentalism
Changes in Production Practices
Changes in Performance Practices
English Restoration Theatre (1660–c. 1750)
English Public Theatre
Theatre Architecture
Restoration Drama
Comedy of Manners
Comedy of Intrigue
Tragedy
Audiences
Acting Companies and Actors
The Rise of Sentimentalism: 1700—1750
Serious Plays: Domestic Tragedy
Minor Forms
Changes in Production and Performance Practices
Chapter 7 at a Glance
Key Terms
Captions
How We Know: A Forgotten Theatre Recovered
The Play’s the Thing: Jean Racine’s Phèdre (Phaedra), 1677
The Story of the Play
The Play’s the Thing: Molière’s Tartuffe, 1669
The Story of the Play

Chapter 8: Melodrama and The Rise of Commercialism 1750 - 1900
Objectives
Context
Theatre in Four Countries, circa 1700 to c 1850
Germany
England and France
America
Commercial Theatre Develops
Actors, Managers
David Garrick
Edmund Kean
Charles Macready
Ellen Terry
From Actor-Managers to Producers
The Star System
Theatrical Syndicate in the US
Drama in the Commercial Theatre
Shifts in Western Drama after c. 1750
Melodrama in the Commercial Theatre
Music
A Simplified Moral Universe
Spectacle
Realistic Melodrama after c. 1850
The Most Important Melodrama in English: Uncle Tom’s Cabin
Playwrights of Melodrama
Melodrama After 1900
Comedy in the Commercial Theatre
Sheridan and Goldsmith: English Comic Playwrights 1700 through 1800
France and the Well-Made Play Beginning in 1815
Oscar Wilde
Reactions to the Commercial Theatre
Chapter 8 at a Glance
Key Terms
How We Know: Early Theatre Photography
Captions
The Play’s the Thing: Augustin Daly’s Under the Gaslight, 1867
The Story of the Play

Chapter 9:   Romanticism and Realism   1750 – 1900
Objectives
Context
A Cluster of Ideas and Impulses
Romanticism in the Theatre
Two Examples of Romanticism in the Novel and on the Stage
Romantics Revive Shakespeare
Romanticism in Germany, England, and France
Germany
England
France
Romanticism Dwindles
An Aftershock: Richard Wagner, a Romantic Artist, Flourishing 1842 to 1882
Unity through the Master Artwork
The Separated Audience
Reform After Romanticism: Realism and Naturalism, from circa 1850
Important Leaders of Realism and Naturalism
Georg II, Duke of Saxe-Meiningen
André Antoine and the Théâtre-Libre
The Free Stage in Germany; The Independent Stage in Britain
Konstantin Stanislavski and the Moscow Art Theatre
Plays and Playwrights of Realism
Ibsen
Chekhov
Naturalistic Playwrights: Hauptmann and Gorky
Summary
Chapter 9 at a Glance
Key Terms
Captions
The Play’s the Thing: Henrik Ibsen’s A Doll’s House, 1879
The Story of the Play

Chapter 10: Theatre in Africa
Objectives
Context
Northern Africa
Sub-Saharan Africa
Colonialism in the Country of South Africa
Theatre in Northern Africa
Theatre in Sub-Saharan Africa
Yoruba Performance and its Modern Heirs
Nigerian Playwright, Wole Soyinka
South African Playwright, Athol Fugard
Theatre for Development
Summary
Key Terms
Captions
Play’s the Thing: Wole Soyinka, Death and the Kings Horseman, 1976
Story of the Play
How We Know: Theatre in Ancient Egypt

Chapter 11: Reactions to Commercialism and Realism 1900-1950
Objectives
Context
Revolts Against Realism and Commercialism
Two Influential Theorists Against Commercialism and Realism
Bertolt Brecht and Epic Theatre
Antonin Artaud and the Theatre of Cruelty
Important US Theatre Groups
The Theatre Guild
The Group Theatre
The Federal Theatre Project
The Art Theatre Movement
Art Theatre Pioneers in Europe
Influential Non-Realistic Stage Designers
The Art Theatre in the US
Playwrights, Sometimes Commercial, Sometimes Realistic
Eugene O'Neill
Elmer Rice: Expressionism on Broadway
Thornton Wilder
Luigi Pirandello
Frederico Garcia Lorca
Comedy in the Commercial Theatre
George S. Kaufman
George Bernard Shaw
Noel Coward
Theatre under Occupation and Totalitarianism
Commercial Theatre Declines
Summary
Chapter 11 at a Glance
Key Terms
Captions
The Play’s the Thing: Antonin Artaud’s Jet of Blood, 1924
Story of the Play: Eugene O'Neill's Long Day's Journey into Night, produced 1956
The Story of the Play

Chapter 12: Musical Theatre
Objectives
Context
The American Musical Emerges
Composers
Lyricists
The Integrated Musical
Gender and Race and the American Musical
Song Forms
Musicals Since 1950
Hair
A Chorus Line
Stephen Sondheim: Lyricist and Composer
Musicals and Popular Songs
The Sung-Through Musical
Jukebox Musicals
Disney Recycles and Musical Revivals
Summary
Chapter 12 at a Glance
Key Terms
Captions
The Play’s the Thing: Girl Crazy, 1930
The Story of the Musical
How We Know: Preserving Musicals

Chapter 13: Eclecticism: U.S. Theatre from 1950
Objectives
Context
The Age of Anxiety
Societal Changes
Technology
The Rise of Terrorism
Theatre Becomes Eclectic: an Overview
Professional Theatre
Commercial Theatre
Not-for-Profit Theatre
Plays Since 1950
Tennessee Williams
Arthur Miller
Edward Albee
Other Plays and Playwrights
Imported Plays
Comedy, Mostly Neil Simon
The Decline of the Non-Musical Play on Broadway
The Political Avant-Garde in Theatre
The Political Avant-Garde in Miniature: The Living Theatre
The Artistic Avant-Garde in Theatre
The Artistic Avant-Garde in Miniature: Joseph Chaikin and the Open Theatre
The Avant-garde Fades
Identity Theatre Emerges
African-American Theatre
Women’s Theatre
Gay and Lesbian Theatre
Latinos/Latinas
Identity Theatre Into the Mainstream: Two Examples
Absurdism, Performance Art, and Postmodernism
Absurdism
Performance Art
Postmodernism
Theatrical Responses to 9/11 and New Wars
Metamorphoses: New York
Guantánamo: British
The Lysistrata Project: International
Black Watch: Scotland
All My Sons: New York
The Cultural Displacement of Theatre
The Play’s the Thing: Tyler Perry and the Chitlin’ Circuit
How We Know: Theatre on Film and Tape Archive
Key Terms
Captions
The Play’s the Thing: August Wilson’s Century of African American Life
The Play’s the Thing: Tennessee Williams’s A Streetcar Named Desire, 1947
The Story of the Play
The Play's the Thing: Paula Vogel's The Baltimore Waltz, 1992
The Story of the Play

Chapter 14: European Theatre after 1950
Objectives
Context
Germany
Important German Playwrights
Great Britian
The Royal Shakespeare Company and the Royal National Theatre
British Playwrights
France
French Playwrights
Italy
Poland
Australia
Summary
Key Terms
Captions
The Play’s the Thing: Caryl Churchill's Top Girls, 1982
The Story of the Play

Chapter 15: Theatre in Asia from 1800
Objectives
Context
India
Western-Style Theatre Emerges
Chinese Theater after 1790
Beijing Opera
Spoken Drama
Theatre in Communist China
Later Japanese Theatre
Butoh: Dance, Theatre, or What?
Kabuki Continues
Summary
Key Terms
Captions
The Play’s the Thing: Tragore’s The Post Office, 1924

Chapter 16: Globalization of Theatre
Objectives
Context
Musicals in Asia
Other International Musical Successes
Techniques and Styles
Asian and African Theatre in Western Countries
Global Shakespeare
A Safe Way to Dissent
Theme-park Shakespeare
Belarus Free Theatre
Summary
Key Terms
Captions

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