International in scope, this book is designed to be the pre-eminent reference work on the English-speaking theatre in the twentieth century. Arranged alphabetically, it consists of some 2500 entries written by 280 contributors from 20 countries which include not only top-level experts, but, uniquely, leading professionals from the world of theatre. A fascinating resource for anyone interested in theatre, it includes: - Overviews of major concepts, topics and issues; - Surveys of theatre institutions, countries, and genres; - Biographical entries on key performers, playwrights, directors, designers, choreographers and composers; - Articles by leading professionals on crafts, skills and disciplines including acting, design, directing, lighting, sound and voice.

Arranged alphabetically and written by 280 contributors from 20 countries, this new paperback contains over 2,500 entries, which are international in scope but with a particular emphasis on English-speaking theater.

The Routledge Companion to Twentieth Century British Theatre and Performance provides a broad range of perspectives on the multiple models and examples of theatre, artists, enthusiasts, enablers, and audiences that emerged over this formative 100-year period. This first volume covers the first half of the century, constructing an equitable and inclusive history that is more representative of the nation's lived experience than the traditional narratives of British theatre. Its approach is intra-national – weaving together the theatres and communities of England, Scotland, Wales, and Northern Ireland. The essays are organised thematically arranged into sections that address nation, power, and identity; fixity and mobility; bodies in performance; the materiality of theatre and communities of theatre. This approach highlights the synergies, convergences, and divergences of the theatre landscape in Britain during this period, giving a sense of the sheer variety of performance that was taking place at any given moment in time. This is a fascinating and indispensable resource for undergraduate and graduate students, postgraduate researchers, and scholars across theatre and performance studies, cultural studies, and twentieth-century history.

Screen plays is a ground-breaking collection that chronicles the rich and surprising history of stage plays produced for the small screen between 1930 and the present. The volume opens with a substantial historical outline of how plays originally written for the theatre have been presented by the BBC and ITV, as well as independent producers and cultural organisations. Subsequent chapters utilise a variety of critical methodologies to analyse a wide range of outside broadcasts from theatres, screen adaptations of existing stage productions, along with original television productions of classic and contemporary drama. Making a compelling case for the centrality of the theatre to British television’s past and present, Screen plays opens up new areas of research for all those engaged in theatre, media and adaptation studies.

Discussing some of the pivotal questions relating to the complementary fields of theatre and performance studies, this engaging, easy-to-use text is undoubtedly a perfect reference guide for the keen student and passionate theatre-goer alike.

Stanislavsky in the World is an ambitious and ground-breaking work charting a fascinating story of the global dissemination and transformation of Stanislavsky's practices. Case studies written by local experts, historians and practitioners are brought together to introduce the reader to new routes of Stanislavskian transmission across the continents of Europe, Asia, Africa, Australasia and South (Latin) America. Such a diverse set of stories moves radically beyond linear understandings of transmission to embrace questions of transformation, translation, hybridisation, appropriation and resistance. This important work not only makes a significant contribution to Stanislavsky studies but also to recent research on theatre and interculturalism, theatre and globalisation, theatre and (post)colonialism and to the wider critical turn in performer training historiographies. This is a unique examination of Stanislavsky's work presenting a richly diverse range of examples and an international perspective on Stanislavsky's impact that has never been attempted before.

Historical Dictionary of Contemporary American Theater. Second Edition covers theatrical practice and practitioners as well as the dramatic literature of the United States of America from 1930 to the present. The 90 years covered by this volume features the triumph of Broadway as the center of American drama from 1930 to the early 1960s through a Golden Age exemplified by the plays of Eugene O’Neill, Elmer Rice, Thornton Wilder, Lillian Hellman, Tennessee Williams, Arthur Miller, William Inge, Lorraine Hansberry, and Edward Albee, among others. The impact of the previous modernist era contributed greatly to this period of prodigious creativity on American stages. This volume will continue through an exploration of the decline of Broadway as the center of U.S. theater in the 1960s and the evolution of regional theaters, as well as fringe and university theaters that spawned a second Golden Age at the millennium that produced another – and significantly more diverse – generation of significant dramatists including such figures as Sam Shepard, David Mamet, Maria Irené Fornes, Beth Henley, Terrence McNally, Tony Kushner, Paula Vogel, Lynn Nottage, Suzan-Lori Parks, Sarah Ruhl, and numerous others. The impact of the Great Depression and World War II profoundly influenced the development of the American stage, as did the conformist 1950s and the revolutionary 1960s on in to the complex times in which we currently live. Historical Dictionary of the Contemporary American Theater, Second Edition contains a chronology, an introduction, and an extensive bibliography. The dictionary section has more than 1.000 cross-referenced entries on plays, playwrights, directors, designers, actors, critics, producers, theaters, and terminology. This book is an excellent resource for students, researchers, and anyone wanting to know more about American theater.

A 1967 obituary in The Times labelled Stephen Joseph 'the most successful missionary to work in the English theatre since the second world war'. This radical man brought theatre-in-the-round to Britain, provoked Ayckbourn, Pinter and verbatim theatre creator Peter Cheeseman to write and direct, and democratised theatregoing. This monograph investigates his forgotten legacy. This monograph draws on largely unsorted archival material (including letters from Harold Pinter, J. B. Priestley, Peggy Ramsay and others), and on new interviews with figures including Sir Alan Ayckbourn, Trevor Griffiths and Sir Ben Kingsley, to demonstrate how the impact on theatre in Britain of manager, director and 'missionary' Stephen Joseph has been far greater than is currently acknowledged within traditional theatre history narratives. The text provides a detailed assessment of Joseph's work and ideas during his lifetime, and summarises his broadly-unrecognised posthumous legacy within contemporary theatre. Throughout the book Paul Elsam identifies Joseph's work and ideas, and illustrates and analyses how others have responded to them. Key incidents and events during Joseph's career are interrogated, and case studies that highlight Joseph's influence and working methods are provided.

This book explores the 'culture wars' of 1945-1970 and is the first major study of the origins and development of this leading annual arts extravaganza.

In Restoration Stage Comedies and Hollywood Remarriage Films, Elizabeth Kraft brings the canon of Restoration comedy into the conversation initiated by Stanley Cavell in his book Pursuits of Happiness: The Hollywood Comedy of Remarriage. Before there could be imagined remarriages of the sort Cavell documents, there had to be imagined marriages of equality. Such imagined marriages were first mapped out on the Restoration stage by witty pairs such as Harriet and Dorimant, Millamant and Mirabell, and Alithea and Harcourt who are precursors of the central couples in films such as Bringing Up Baby, His Girl Friday, and The Lady Eve. In considering the Restoration comedy canon in one-on-one discourse with the Hollywood remarriage comedy canon, Kraft demonstrates the indebtedness of the twentieth-century films to the Restoration dramatic texts-and the philosophical richness of both canons as they explore the nature and significance of marriage as pursuit of moral perfectionism. Her book will be of interest to specialists in Restoration drama and film scholars.