How do dramatic forms shape social formations? This study of Canadian dramatic structures asks this question of an extraordinarily wide range of contemporary plays. Knowles begins with a look at inherited naturalistic and modernist forms based, respectively, on time and space. He then uses this division to extend his inquiry first into post-naturalist forms of collective and collaborative creations, community plays, and historical metadramas, and then into postmodernist structures of environmental theatre and “dialogic monologue.” The book ends with a brief epilogue on the structures of “spacetime,” as Canadian theatre moves “towards a quantum dramaturgy.” From Michael Cook and David French through George F. Walker, Judith Thompson, and Sally Clark, to Monique Mojica, John Mighton, and feminist performance art, this book revolutionizes the study of contemporary Canadian drama. It’s a thoughtful and timely advance in our ways of thinking about dramaturgical form and meaning in Canadian theatrical production, and in Canadian society.

This book is an argument for a particular point of view toward theatre, not a summary or survey of dramatic theory and criticism. The argument centers on the concept of form, a concept that is the rock on which all theoretical and critical works are built, or against which they shatter.

''... brilliantly original ... brings cultural and post-colonial theory to bear on a wide range of authors with great skill and sensitivity.' Terry Eagleton

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.

From before history was recorded to the present day, theatre has been a major artistic form around the world. From puppetry to mimes and street theatre, this complex art has utilized all other art forms such as dance, literature, music, painting, sculpture, and architecture. Every aspect of human activity and human culture can be, and has been, incorporated into the creation of theatre. In this Very Short Introduction Marvin Carlson takes us through Ancient Greece and Rome, to Medieval Japan and Europe, to America and beyond, and looks at how the various forms of theatre have been interpreted and enjoyed. Exploring the role that theatre artists play — from the actor and director to the designer and puppet-master, as well as the audience — this is an engaging exploration of what theatre has meant, and still means, to people of all ages at all times. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.

This 14-volume set contains titles originally published between 1926 and 1992. An eclectic mix, this collection examines Shakespeare’s work from a number of different perspectives, looking at history, language, performance and more it includes references to many of his plays as well as his sonnets.

"From the University of Florida College of Fine Arts, Charlie Mitchell and distinguished colleagues form across America present an introductory text for theatre and theoretical production. This book seeks to give insight into the people and processes that create theater. It does not strip away the feeling of magic but to add wonder for the artistry that make a production work well." -- Open Textbook Library.

As the media have increasingly become the lens through which we see the world, media styles have shaped even the fine arts, and contemporary theatre is particularly indebted to mass media's dramatic influence. In order to stay culturally and financially viable, theatre producers have associated theatrical productions and their promotion with film, television, and the Internet by adopting new theatrical practices that mirror the form and content of mass communication. This work demonstrates how mediatization, or the adoption of the semantics and the contexts of mass media, has changed the way American theatre is produced, performed, and perceived. Early chapters use works like Robert Wilson's 3D digital opera Monsters of Grace and Thecla Schophorst's digitally animated Bodymaps to demonstrate the shifting nature of live performance. Critical analysis of the interaction between the live performer and digital technology demonstrates that the use of media technology has challenged and changed traditional notions of dramatic performance. Subsequent discussion sustains the argument that theatre has reconfigured itself to access the economic and cultural power of the media. Final chapters consider the extent to which mediatization undermines theatrical authorship and creativity.

The Routledge Reader in Politics and Performance brings together for the first time a comprehensive collection of extracts from key writings on politics, ideology, and performance. Taking an interdisciplinary approach to the subject, and including new writings from leading scholars, the book provides material on: * post-coloniality and performance theory and practice * critical theories and performance * intercultural perspectives * power, politics and the theatre * sexuality in performance * live arts and the media * theatre games.

What is Dance? What is Theatre? What is the boundary between enacting a character and narrating a story? When does movement become tinted with meaning? And when does beauty shine alone as if with no object? These universal aesthetic questions find a theoretically vibrant and historically informed set of replies in the oeuvre of the eleventh-century Kashmirian author Abhinavagupta. The present book offers the first critical edition, translation, and study of a crucial and lesser known passage of his commentary on the Nāṭyaśāstra, the seminal work of Sanskrit dramaturgy. The nature of dramatic acting and the mimetic power of dance, emotions, and beauty all play a role in Abhinavagupta’s thorough investigation of performance aesthetics, now presented to the modern reader.