Jarry - Garcia Lorca - Satre - Camus - Beckett - Ritual theatre and Jean Genet - Fringe theatre in Britain__

This 1981 volume begins with the French revolt against naturalism in theatre and then covers the European realist movement.

This book will appeal to students, actors and directors of drama, as well as the theatregoers.

Modern drama in theory and ... /J.L. Styan.-v.3.

Twenty-one essays examining the relationship of surrealist thought to architectural theory and practice.

Over the last few centuries, the world as we know it has seen remarkable change and the arts – including theatre – have faced new challenges. Theatre is now no longer a simple point of entertainment laced with instruction or dissent, but is perceived as a more collaborative idea that looks at ever-changing paradigms. All over the world, theatre now is a dynamic process that simultaneously retains tradition and delves into extreme experimentations. This book represents a starting point for a much-needed critical interrogation. It looks at the constant features of European theatre and brings in some Indian elements, positing both in their respective locations, as well as looking at the symbiosis that has been functioning for some time.

Covering the period 1879 to 1959, and taking in everything from Ibsen to Beckett, this book is volume one of a two-part comprehensive examination of the plays, dramatists, and movements that comprise modern world drama. Contains detailed analysis of plays and playwrights, connecting themes and offering original interpretations Includes coverage of non-English works and traditions to create a global view of modern drama Considers the influence of modernism in art, music, literature, architecture, society, and politics on the formation of modern dramatic literature Takes an interpretative and analytical approach to modern dramatic texts rather than focusing on production history Includes coverage of the ways in which staging practices, design concepts, and acting styles informed the construction of the dramas

By concentrating on Sam Shepard's visual aesthetics, Emma Creedon argues that a consideration of Shepard's plays in the context of visual and theoretical Surrealism illuminates our understanding of his experimental approach to drama.

This is the first book to offer a comprehensive survey of the phenomenon of the absurd in a full literary context (that is to say, primarily in fiction, as well as in theatre).