The Making Of Theatre History

Theatre and Drama in the Making introduces readers not only to important primary sources, but to the uses made of them by distinguished theorists, critics, and historians. Unlike other texts, it discusses theatre as a whole, embracing both the art of dramatic writing and the art of performance. Included in this new edition are greatly expanded sections covering "Latin Theatre and Drama" and "The Golden Age of Spain " as well as all the exciting new archaeological information relating to the excavation of the Rose and the Globe. The introduction to each essay has been revised and enlarged so that together they may be read independently as a concise and accurate narrative of theatre history. From Aeschylus to CaldÉron, from Agatharcus to Serlio, from Thespis to Burbage, from Aristotle to Sidney, here is the story of Western Theatre in all its glorious variety.

A highly engaging text that approaches Shakespeare as a maker of theatre, as well as a writer of literature. Leading performance critics dismantle Shakespeare's texts, identifying theatrical cues in ways which develop understanding of the underlying theatricality of Shakespeare's plays and stimulate further performances.

Grange covers productions, theories, innovations, and plays from ancient Greece to the Spanish Golden Age. It does not read like a scholarly tome as its chapters allow the uninitiated reader access to well-researched and often humorous material. Descriptions of films augment discussions of theatre, helping readers better analyze theatre performance.

An annotated collection of more than 300 unusually interesting and detailed passages includes views by observers from ancient Greece to modern times on acting, directing, make-up, costuming, props, much more.

Theatre Studios explores the history of the studio model in England, first established by Konstantin Stanislavsky, Jacques Copeau and others in the early twentieth century, and later developed in the UK primarily by Michel Saint-Denis, George Devine, Michael Chekhov and Joan Littlewood, whose studios are the focus of this study. Cornford offers in-depth accounts of the radical, collective work of these leading theatre companies of the mid-twentieth century, considering the models of ensemble theatre-making that they developed and their remnants in the newly publicly-funded UK theatre establishment of the 1960s. In the process, this book develops an approach to understanding the politics of artistic practices rooted in the work of John Dewey, Antonio Gramsci and the standpoint feminists. It concludes by considering the legacy of the studio movement for twenty-first-century theatre, partly by tracking its echoes in the work of Secret Theatre at the Lyric, Hammersmith (2013–2015). Students and makers of theatre alike will find in this book a provocative and illuminating analysis of the politics of performance-making and a history of the theatre as a site for developing counterhegemonic, radically democratic, anti-individualist forms of cultural production.