A Theatre Reading List
C. W. (Toph) Marshallvisibility
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Comments and suggestions to [email protected] (last updated: 14 Jan 2013).
Related papers
Intro to Theatre Arts
2018
Email/text me to make an appointment or call my cellular phone to connect with me immediately. I'll be in and out of my office Mondays and Wednesdays most of the day-and some Thursdays. Course Description: This course is an introduction to the history, practice, and performance of the Theatre Arts, with particular attention to the following inquiries: What is theatre? How is it created? What are the various occupations in the theatre? What is the position of theatre in society? My goal for this course is to give you the means to discuss theatrical experiences (either as theatre makers or spectators) as well as the great variety of theatrical traditions, and provide a basis for your future endeavors with this art form. This will be based on lectures, readings, videos, in-class discussions, and seeing theatrical productions-both on campus and off. General Education Information As part of the College's General Education Curriculum, this course is designed to enhance your understanding of artistic issues and how they are 7 March 12 Oedipus Rex March 14 Oedipus Rex March 19 Masks, Makeup, and Costumes March 21 Incorporating the philosophy of Augusto Boal, the class will be broken into groups and come up with pertinent sketches. March 26 What is the producer? March 28 Goals of Set Design.
The Applied Theatre Reader. Edited by Tim Prentki and Sheila Preston. New York: Routledge, 2008; xvi + 380 pp. $120.00 cloth, $37.95 paper
TDR/The Drama Review, 2011
Matters: Theatres in the Second Part of the 20th Century) by Valentina Valentini, represents a breakthrough in theatre studies and performance theory outside of the Anglo-Saxon world. Its publication in Italy can be compared to the innovative works of Patrice Pavis (Languages of the Stage, 1982), Marco de Marinis (Capire il teatro [To Understand Theatre], 1988), and Hans-Thies Lehmann (The Postdramatic Theatre, 1999), which each introduced a major change in European theatre studies. A renowned Italian theatre scholar and professor at La Sapienza University in Rome, Valentini modestly claims that her book is meant as a textbook for teachers and students of theatre and performance practice and theory. However, it is also accessible to nonspecialists, who might be unfamiliar with the "archaeology" of contemporary performing arts and their main aspects: its 200 pages are very well equipped with numerous footnotes, titles, and sources, and richly illustrated with photographs from various historical and contemporary performances. Some of these represent memorable moments in the history of theatre and performance, while others serve to illustrate the main hypothesis: the complex relations between different performance and artistic practices can only be examined and analyzed from a contemporary philosophical perspective which, in turn, can contribute to the development of the field of theatre studies. References
Syllabus: "World Theatre History I" (Fall 2012)
This course provides an overview of world theatre and performance traditions from ancient times through the early 17 th Century. We will focus on traditional performance forms, classical drama, and national performance traditions. We begin with the paradigm that theatre is an institution with deep ties to social, political, and religious institutions. We will examine historical documents and artifacts, dramatic and performance texts and reconstructions (including taped and live performances), and major theories of early theatre. Emphasis will be placed on the discipline of theatre research as a vital area of scholarship, as well as its relevance and applications to contemporary socio-cultural processes.
The Cambridge Companion to Theatre History (Review)
The Cambridge Companion to Theatre History (Review). Edited by David Wiles and Christine Dymkowski. TDR 58.4/T224 (Winter 2014).
Teaching Theatre Today: Pedagogical Views of Theatre in Higher Education (review)
Theatre Topics, 2007
Signs of Change: New Directions in Theatre Education by Joan Lazarus and: Artistic Literacy: Theatre Studies and a Contemporary Liberal Education by Nancy Kindelan
Theatre Topics, 2013
Review of A Cultural History of Theatre, 6 vols., ed. Balme and Davis (2019)
Theatre Survey, 2019
Review of A Cultural History of Theatre, ed. Christopher B. Balme and Tracy C. Davis. Theatre Survey 60.3 (Sept. 2019): 461-472.
Sources for the Study of Contemporary Theatre
Studies in Theatre and Performance, 2000
A Theatre Reading List
C. W. Marshall
Comments and suggestions to [email protected] (last updated: 14 Jan 2013).
This list is selective and subjective: these are the books that I find myself most often recommending to
students and colleagues, that have helped teach me how theatre works and how meaning is created in
performance on stage. There is probably a bias towards the needs of classical scholars (as I perceive them),
but there’s a lot to learn from each of these.
1.
Bennett, Susan. 1997. Theatre Audiences: A Theory of Production and Reception. Routledge.
A study of audiences as a cultural phenomenon, that helpfully positions the experience of theatregoers not only in terms of the play but the whole event of going to the theatre.
2.
Dessen, Alan C. 1984. Elizabethan Stage Conventions and Modern Interpreters. Cambridge UP.
A great introduction to the representation of place and how that manifests itself in texts (esp. stage
directions), providing the methodology for future work, including A. C. Dessen and Leslie
Thomson, A Dictionary of Stage Directions in English Drama, 1580-1642 (CUP, 1999).
3.
Johnstone, Keith. 1979. Impro: Improvisation and the Theatre. Faber & Faber (and later by
Methuen and Routledge).
An overview of Johnstone’s method for improv, with lots of practical examples. The chapter on
Status provides a concept that is applicable to the analysis of any scene, scripted or unscripted,
for academics or performers.
4.
Mamet, David. 1999. True and False: Heresy and Common Sense for the Actor. Vintage.
Concise advice on Mamet’s distinctive approach to acting, encouraging performers to play the
truth of the moment and be true to the script. The anti-Stanislavskian approach offers a new way
of understanding characterization in complex scripts.
5.
McMillin, S. and S. MacLean. 1998. The Queen’s Men and their Plays. Cambridge UP.
A detailed study of an Elizabethan company, using scripts as historical evidence for troupe size,
etc., to complement other historical sources.
6.
Miller, Jonathan. 1986. Subsequent Performances. Viking.
A thoughtful examination of the afterlife of a play, and the choices one makes when one is
presenting familiar works (‘classics’) to a modern audience.
7.
Pickard-Cambridge, A. 1968. The Dramatic Festivals of Athens, second ed. rev. by J. Gould and
D. M. Lewis, with a new supplement (1988). Oxford UP.
The fullest synthesis of the evidence for the context of Athenian performance, combining study of
the texts with epigraphy and visual evidence.
8.
Sher, Antony. 2006. Year of the King: an actor’s diary and sketchbook, 20th anniv. ed. Limelight.
Sher’s diaries as he tackles the role of Richard III, showing the range of questions faced by an
intelligent actor engaging with a history of interpretations of a major role at the National Theatre.
9.
Slater, Niall. 1985. Plautus in Performance: the Theatre of the Mind. Princeton UP.
Provides the key articulation of how metatheatre works in Roman comedy, offering insights on six
plays. The second edition (2000, Harwood) adds an appendix of other published articles.
10. Sofer, Andrew. 2003. The Stage Life of Props. Michigan UP.
A historical study of specific stage props, and why they are meaningful in the theatre of their time:
the host (Medieval), the handkerchief (Elizabethan), the skull (Jacobean), the fan (18th C), and the
gun (20th C).
11. Taplin, Oliver. 1977. The Stagecraft of Aeschylus: The Dramatic Use of Exits and Entrances in
Greek Tragedy. Oxford UP.
This is the monument on which is built almost all modern studies of Greek stagecraft. Through a
careful study of entrances and exits, Taplin draws on Shakespearian scholarship and articulates
the basic language of tragic performance.
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