The Making of Theatre History |
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Inhalt
Magic and Ritual | 6 |
THE CLASSICAL THEATRE 15 | 17 |
The Cult of Dionysus and the Emergence | 19 |
Music and Dance | 25 |
Euripides | 31 |
Cultural Context 16 | 36 |
The Empire | 37 |
THE CLASSICAL ASIAN THEATRE | 64 |
The Theatre | 186 |
Scenery | 192 |
Political Stability | 198 |
THE SOCIAL THEATRE | 202 |
Revolution | 208 |
New Dramaturgical Goals | 214 |
Costume | 221 |
Cavalier Culture | 239 |
Buddhism and the Theatre | 70 |
CHINA | 83 |
Society on Stage | 85 |
Mathematics and the Arts | 87 |
Acting in the Beijing Opera | 91 |
Religious Ritual and the Drama | 97 |
THE MEDIEVAL THEATRE | 119 |
Attacks on Actors | 125 |
c 1300c 1500 | 136 |
The Staging of Cycle Plays | 143 |
Drama in the Religious Controversy | 147 |
THE RENAISSANCE THEATRE | 153 |
The Theatrical Revolution | 159 |
The Pastoral | 165 |
Goldoni and Gozzi | 172 |
ENGLAND | 180 |
From NeoClassicism to Sturm und Drang | 245 |
Notes | 251 |
Transcendental Aesthetics | 256 |
Dramatic Texts | 262 |
ActorManagers | 270 |
Art as Religion | 276 |
AMERICA | 284 |
Theatre Missionaries | 290 |
Sentiment and Melodrama | 296 |
Revolutionary Romanticism | 302 |
A New Bourgeois Aesthetic | 308 |
Luigi Pirandello | 315 |
GERMANY | 324 |
The Legacy of Realistic Drama | 330 |
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