Concise History of Theatre, A, 1st edition
Published by Pearson (January 4, 2013) © 2014
- Jim Patterson University of South Carolina
- Tim Donahue University of South Carolina
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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.
- “The Play’s the Thing” — This sidebar centers on the story of a significant play, why it is important, and offers some biographical information about the playwright. Intended to give students a general sense of a play, this feature is a good jumping off point for ancillary reading.
- “How We Know” — This sidebar concentrates on original documents and artifacts to demonstrate how we know about theatre history. It helps introduce students to the work of theatre historians.
- Objectives — Appear at the beginning of each chapter to reinforce key points.
- Key terms — Are included at the end of each chapter to help students identify important topics.
- Glossary - Includes definitions of all key terms.
- “Chapter at a Glance” - Timelines offer a quick overview of important events in theatre history.
- Full-color illustrations and photographs - Help students visualize important places and events.
- Outstanding supplements package - Supports a wide range of instructional settings including small discussion groups, large lecture halls, and online or Web-based courses.
- Create a Custom Text - For enrollments of at least 25, create your own textbook by combining chapters from best-selling Pearson textbooks and/or reading selections in the sequence you want. To begin building your custom text, visit www.pearsoncustomlibrary.com. You may also work with a dedicated Pearson Custom editor to create your ideal text–publishing your own original content or mixing and matching Pearson content. Contact your Pearson Publisher’s Representative to get started.
In this Section:
1) Brief Table of Contents
2) Full Table of Contents
1) Brief Table of Contents
Introduction: The Theatre of Many Times and Places
Chapter 1: Greek Theatre
Chapter 2: Roman Theatre 240 BCE - 550 CE
Chapter 3: Early Theatre of Asia 200 BCE - 1800 CE
Chapter 4: The European Middle Ages
Chapter 5: The Italian Renaissance
Chapter 6: The Golden Ages of England and Spain
Chapter 7: Neoclassicism: Triumph and Decline in France and England
Chapter 8: Melodrama and The Rise of Commercialism 1750 - 1900
Chapter 9: Romanticism and Realism 1750 — 1900
Chapter 10: Theatre in Africa
Chapter 11: Reactions to Commercialism and Realism 1900-1950
Chapter 12: Musical Theatre
Chapter 13: Eclecticism: U.S. Theatre from 1950
Chapter 14: European Theatre after 1950
Chapter 15: Theatre in Asia from 1800
Chapter 16: Globalization of Theatre
2) Full Table of Contents
Introduction: The Theatre of Many Times and Places
The Past in the Present
Theatre: A Definition
Language And Its Problems
Theatre-Like Activities
Historical Evidence, Emphasis, and Omissions
Organization
Chapter 1: Greek Theatre
Objectives
Context
Theories of the Origins of Theatre
Traits of Greek Theatre
Plays and Playwrights
Theatre Buildings and Practices
The Hellenistic Period
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
Three Important Texts
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
China
Japan
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
Production inside the Church
Later Medieval Culture and Theatre, c. 1200—1550
Religious Drama outside the Church
Staging Religious Plays outside the Church
Secular Drama
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
Theory: Neoclassicism
Practice: Italian Renaissance Drama
Illusionism
Renaissance Theatre Structures
Stage Settings for Illusionistic Theatre
Contradiction in Mainstream Theatre
An Alternative Theatre: Commedia dell’Arte
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
England and the Golden Age
Court Masques and New Conventions: Inigo Jones
The Closing of English Theatres
Spain in the Golden Age
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
English Restoration Theatre (1660—c. 1750)
The Rise of Sentimentalism: 1700–1750
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 Becomes Commercial
Theatre in Four Countries, circa 1700 to c 1850
Commercial Theatre Develops
Actors, Managers
From Actor-Managers to Producers
Drama in the Commercial Theatre
Melodrama in the Commercial Theatre
Comedy in the Commercial Theatre
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
Romanticism in the Theatre
Romanticism in Germany, England, and France
Romanticism Dwindles
An Aftershock: Richard Wagner, a Romantic Artist, Flourishing 1842 to 1882
Reform After Romanticism: Realism and Naturalism, from circa 1850
Important Leaders of Realism and Naturalism
Plays and Playwrights of Realism
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
Theatre in Northern Africa
Theatre in Sub-Saharan Africa
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
Important US Theatre Groups
The Art Theatre Movement
Playwrights, Sometimes Commercial, Sometimes Realistic
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
Song Forms
Musicals Since 1950
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
Theatre Becomes Eclectic: an Overview
Professional Theatre
Plays Since 1950
The Political Avant-Garde in Theatre
The Artistic Avant-Garde in Theatre
The Avant-garde Fades
Identity Theatre Emerges
Absurdism, Performance Art, and Postmodernism
Theatrical Responses to 9/11 and New Wars
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
Great Britian
France
Italy
Poland
European Theatre After World War II Had Wide Impact
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
Chinese Theater after 1790
Later Japanese Theatre
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
Non-European Theatre in Western Countries
Global Shakespeare
Belarus Free Theatre
Is Globalization Theatre’s Destiny?
Summary
Key Terms
Captions
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.
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