Theatre and Feeling: 1

Product Information

Moreh, Shmuel (1986). "Live Theater in Medieval Islam". In Sharon, Moshe (ed.). Studies in Islamic History and Civilization in Honour of Professor David Ayalon. Cana, Leiden: Brill. pp.565–601. ISBN 965-264-014-X. Deal, William E. (2007). Handbook to Life in Medieval and Early Modern Japan. Oxford: Oxford University Press. ISBN 978-0-19-533126-4. Wilhelm Kosch, "Seyler, Abel", in Dictionary of German Biography, eds. Walther Killy and Rudolf Vierhaus, Vol. 9, Walter de Gruyter editor, 2005, ISBN 3-11-096629-8, p.308.

Deleuze, Gilles and Félix Guattari. 1972. Anti-Œdipus. Trans. Robert Hurley, Mark Seem and Helen R. Lane. London and New York: Continuum, 2004. Vol. 1. New Accents Ser. London and New York: Methuen. ISBN 0-416-72060-9. Jean-Pierre Vernant argues that in The Persians Aeschylus substitutes for the usual temporal distance between the audience and the age of heroes a spatial distance between the Western audience and the Eastern Persian culture. This substitution, he suggests, produces a similar effect: "The 'historic' events evoked by the chorus, recounted by the messenger and interpreted by Darius' ghost are presented on stage in a legendary atmosphere. The light that the tragedy sheds upon them is not that in which the political happenings of the day are normally seen; it reaches the Athenian theatre refracted from a distant world of elsewhere, making what is absent seem present and visible on the stage"; Vernant and Vidal-Naquet (1988, 245). This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. ( May 2018) ( Learn how and when to remove this template message) Theatre presupposes collaborative modes of production and a collective form of reception. The structure of dramatic texts, unlike other forms of literature, is directly influenced by this collaborative production and collective reception. [70] The production of plays usually involves contributions from a playwright, director, a cast of actors, and a technical production team that includes a scenic or set designer, lighting designer, costume designer, sound designer, stage manager, production manager and technical director. Depending on the production, this team may also include a composer, dramaturg, video designer or fight director. a b "Theatre company definition and meaning". Collins English Dictionary . Retrieved December 14, 2021.a b "London's 10 oldest theatres". The Telegraph. Archived from the original on January 11, 2022 . Retrieved April 6, 2020. Pfister, Manfred (2000) [1977]. The Theory and Analysis of Drama. European Studies in English Literature series. Translated by John Halliday. Cambridige: Cambridge University Press. ISBN 978-0-521-42383-0. Because of the turmoil before this time, there was still some controversy about what should and should not be put on the stage. Jeremy Collier, a preacher, was one of the heads in this movement through his piece A Short View of the Immorality and Profaneness of the English Stage. The beliefs in this paper were mainly held by non-theatre goers and the remainder of the Puritans and very religious of the time. The main question was if seeing something immoral on stage affects behavior in the lives of those who watch it, a controversy that is still playing out today. [61]

There are many modern theatre movements which go about producing theatre in a variety of ways. Theatrical enterprises vary enormously in sophistication and purpose. People who are involved vary from novices and hobbyists (in community theatre) to professionals (in Broadway and similar productions). Theatre can be performed with a shoestring budget or on a grand scale with multimillion-dollar budgets. This diversity manifests in the abundance of theatre sub-categories, which include: No tragedies from the 6th century BCE and only 32 of the more than a thousand that were performed in during the 5th century BCE have survived. [29] [30] [g] We have complete texts extant by Aeschylus, Sophocles, and Euripides. [31] [h] The origins of tragedy remain obscure, though by the 5th century BCE it was institutionalised in competitions ( agon) held as part of festivities celebrating Dionysus (the god of wine and fertility). [32] [33] As contestants in the City Dionysia's competition (the most prestigious of the festivals to stage drama) playwrights were required to present a tetralogy of plays (though the individual works were not necessarily connected by story or theme), which usually consisted of three tragedies and one satyr play. [34] [35] [i] The performance of tragedies at the City Dionysia may have begun as early as 534 BCE; official records ( didaskaliai) begin from 501 BCE, when the satyr play was introduced. [36] [34] [j]Taxidou, Olga (2004). Tragedy, Modernity and Mourning. Edinburgh: Edinburgh University Press. ISBN 0-7486-1987-9. Gordon, Mel (1983). Lazzi: The Comic Routines of the Commedia dell'Arte. New York: Performing Arts Journal. ISBN 0-933826-69-9. While most modern theatre companies rehearse one piece of theatre at a time, perform that piece for a set "run", retire the piece, and begin rehearsing a new show, repertory companies rehearse multiple shows at one time. These companies are able to perform these various pieces upon request and often perform works for years before retiring them. Most dance companies operate on this repertory system. The Royal National Theatre in London performs on a repertory system. Mitter, Shomit. 1992. Systems of Rehearsal: Stanislavsky, Brecht, Grotowski and Brook. London and NY: Routledge. ISBN 978-0-415-06784-3.

Banham, Martin, ed. (1998) [1995]. The Cambridge Guide to Theatre. Cambridge: Cambridge University Press. ISBN 0-521-43437-8. Elam, Keir (1980). The Semiotics of Theatre and Drama. New Accents series. London and New York: Routledge. ISBN 978-0-415-03984-0.Rehm, Rusj (1992). Greek Tragic Theatre. Theatre Production Studies. London and New York: Routledge. ISBN 0-415-11894-8. a b Beushausen, Katrin (2018). "From Audience to Public: Theatre, Theatricality and the People before the Civil Wars". Theatre, Theatricality and the People before the Civil Wars. Cambridge University Press. pp.80–112. doi: 10.1017/9781316850411.004. ISBN 9781107181458. Gassner, John & Allen, Ralph G. (1992) [1964]. Theatre and Drama in the Making. New York: Applause Books. ISBN 1-55783-073-8. Aristotle, Poetics, line 1449a: "Comedy, as we have said, is a representation of inferior people, not indeed in the full sense of the word bad, but the laughable is a species of the base or ugly. It consists in some blunder or ugliness that does not cause pain or disaster, an obvious example being the comic mask which is ugly and distorted but not painful'."

Leach, Robert, and Victor Borovsky, eds. 1999. A History of Russian Theatre. Cambridge: Cambridge UP. ISBN 978-0-521-03435-7. Fergusson, Francis (1968) [1949]. The Idea of a Theater: A Study of Ten Plays, The Art of Drama in a Changing Perspective. Princeton, NJ: Princeton University Press. ISBN 0-691-01288-1. Teachout, Terry (December 13, 2021). "The Best Theater of 2021: The Curtain Goes Up Again". Wall Street Journal. orangepolly . Retrieved March 3, 2022. Brown, Andrew (1998). "Greece, Ancient". In Banham, Martin (ed.). The Cambridge Guide to Theatre (Rev.ed.). Cambridge: Cambridge University Press. pp. 441–447. ISBN 0-521-43437-8. Wayang puppet theatre", Inscribed in 2008 (3.COM) on the Representative List of the Intangible Cultural Heritage of Humanity (originally proclaimed in 2003)". UNESCO . Retrieved October 10, 2014.

Duchartre, Pierre Louis (1966) [1929]. The Italian Comedy: The Improvisation Scenarios Lives Attributes Portraits and Masks of the Illustrious Characters of the Commedia dell'Arte. Translated by Randolph T. Weaver. New York: Dover Publications. ISBN 0-486-21679-9. Richmond, Farley (1998) [1995]. "India". In Banham, Martin (ed.). The Cambridge Guide to Theatre. Cambridge: Cambridge University Press. pp. 516–525. ISBN 0-521-43437-8. In 1902, Stanislavski wrote that "the author writes on paper. The actor writes with his body on the stage" and that the "score of an opera is not the opera itself and the script of a play is not drama until both are made flesh and blood on stage"; quoted by Benedetti (1999a, 124).