Theatre

<p><strong>ACT ONE Theatre and Its Audience</strong></p> <p><strong>CHAPTER 1 CULTURAL COLLABORATION: Theatre and Society</strong></p> <p>Theatre as Entertainment and Art</p> <p>The Social Functions of Theatre</p> <p>Social Control of Theatre</p> <p>Theatrical Choice in North America</p> <p>Cultural Context and Personal Experience</p> <p><strong>CHAPTER 2 EXPERIENCING THEATRE: Collaboration of Actor, Audience, and Space </strong></p> <p>The Audience</p> <p>The Nature of Acting</p> <p>From Play to Production</p> <p>Space</p> <p>Theatre and Transformation</p> <p><strong>C HAPTER 3 ANALYZING THEATRE: Thinking and Writing About Live Performance</strong></p> <p>Theatre, Film, and Television</p> <p>Analyzing Production</p> <p>Thinking About Actor Performances</p> <p>Thinking About Space and Design</p> <p>Understanding Style</p> <p>Evaluating Production</p> <p>The Role of the Critic</p> <p>Writing About Production</p> <p>When It All Works</p> <p><strong>CHAPTER 4 UNDERSTANDING THE PLAY: A Theatrical Blueprint </strong></p> <p>Plot</p> <p>Character</p> <p>Thought</p> <p>Language</p> <p>Music</p> <p>Spectacle</p> <p><strong>CHAPTER 5 INTERPRETING THE PLAY: Understanding Genre, Reading, and Writing </strong></p> <p>Dramatic Genre</p> <p>Reading a Play</p> <p>Writing About a Play</p> <p><strong>ACT TWO Collaboration in Art and Practice </strong></p> <p><strong>CHAPTER 6 THE DIRECTOR: Vision and Leadership </strong></p> <p>Has Someone Always Been in Charge?</p> <p>Interpretation</p> <p>Developing Concept</p> <p>Communicating and Managing the Artistic Vision</p> <p>Collaborating with the Playwright</p> <p>Directors and Absent Playwrights</p> <p>Collaborating with Designers</p> <p>Collaborating with Actors</p> <p>Collaborating with the Stage Manager</p> <p>The Rehearsal Process</p> <p>Opening the Production</p> <p><strong>CHAPTER 7 THE ACTOR: From Mask to Contemporary Performance </strong></p> <p>Development of the Actor</p> <p>Acting Styles and Methods</p> <p>The Actor’s Work</p> <p><strong>CHAPTER 8 THE PLAYWRIGHT: Imagination and Expression </strong></p> <p>The Changing Position of the Playwright</p> <p>The Playwright and Production</p> <p>Development of New Plays</p> <p><strong>CHAPTER 9 THE DESIGNER: Materializing Conception and the World of the Play </strong></p> <p>The Development of the Designer</p> <p>The Designers’ Choices</p> <p>The Scenic Designer’s Work</p> <p>The Lighting Designer’s Work</p> <p>The Costume Designer’s Work</p> <p>The Sound Designer’s Work</p> <p>Integrating All the Designs</p> <p><strong>CHAPTER 10 THE PRODUCER: Coordination, Promotion, Economics</strong></p> <p>Early Producers</p> <p>The Role of the Producer</p> <p>The Economics of Theatre</p> <p><strong>ACT THREE Collaboration in History</strong></p> <p><strong>CHAPTER 11 FOUNDATIONS: Classical Theatrical Forms </strong></p> <p>Classical Greece</p> <p>Classical Rome</p> <p>Medieval Europe</p> <p>Classical India</p> <p>Classical China</p> <p>Classical Japan</p> <p><strong>CHAPTER 12 REINTERPRETATIONS: Europe Rediscovers the Western Classics </strong></p> <p>The Italian Renaissance</p> <p>Elizabethan England</p> <p>The Spanish Golden Age</p> <p>Seventeenth-Century France</p> <p>Restoration England</p> <p>Eighteenth-Century Europe and the Americas</p> <p><strong>CHAPTER 13 REVOLUTIONS: Romanticism to Postmodern Experiment </strong></p> <p>Romanticism</p> <p>Nineteenth-Century Melodrama</p> <p>Nineteenth-Century Realism and Naturalism</p> <p>The Avant-Garde from the Late Nineteenth Century to the 1960s</p> <p>Modern and Contemporary Popular Theatre</p> <p>The Recent Avant-Garde and Postmodern Experiment</p>