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ebook download (eBook PDF) Theatre: A Way of Seeing 7th Edition all chapter
ebook download (eBook PDF) Theatre: A Way of Seeing 7th Edition all chapter
7th Edition
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C ontents vii
Copyright 201 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
viii C ontents
Farce 116
The “Psychology” of Farce 117
Society’s Safety Valve 118
Epic Theatre 122
The Epic Play 122
Epic Theatre as Eyewitness Account 122
The Alienation Effect 125
Absurdist Theatre 125
The Absurd 126
The “American” Absurd 127
Copyright 201 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
C ontents ix
Copyright 201 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
x C ontents
Copyright 201 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
C ontents xi
Copyright 201 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
xii C ontents
Notes 352
Glossary 359
Index 373
Copyright 201 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
Features
Focus on People in Theatre
Actors
Mei Lanfang 42
Actor-Manager
Caroline Neuber 220
Choreographer
Agnes de Mille 322
Creator
Julie Taymor 237
Designers
Adolphe Appia and Edward Gordon Craig (Set Design) 247
Ming Cho Lee and John Lee Beatty (Set Design) 251
Jane Greenwood and William Ivey Long (Costume) 255
Theoni V. Aldredge (Costume) 256
Susan Hilferty (Costume) 257
Paul Huntley (Wig and Hair) 261
Jennifer Tipton (Lighting) 269
Jules Fisher, Peggy Eisenhauer, and Natasha Katz (Lighting) 271
Abe Jacob (Sound) 277
Jonathan Deans (Sound) 279
Directors
Jerzy Grotowski 59
Ariane Mnouchkine 66
Elia Kazan 224
Peter Brook 226
Directors-Choreographers
Martha Clarke and Robert Lepage 241
Director-Teacher
Anne Bogart 206
xiii
Copyright 201 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
xiv F eatures
Performance Artists
Anna Deavere Smith 144
Playwrights
Aeschylus and the Athenian Festivals 27
William Shakespeare 32
Tang Xianzu 40
Chikamatsu Monzaemon 45
Kalidasa 51
Edward Albee 81
Sam Shepard 83
David Mamet 86
Tennessee Williams 88
August Wilson 89
Arthur Miller 91
Paula Vogel 93
Lorraine Hansberry 94
Suzan-Lori Parks 95
David Henry Hwang 97
Euripides 106
Molière 109
Samuel Beckett 112
Tony Kushner 113
Bertolt Brecht 121
Eugène Ionesco 126
Henrik Ibsen 134
Luigi Pirandello 168
Anton Chekhov 181
Playwrights’ Agent
Audrey Wood 296
Playwright-Director-Designer
Robert Wilson 151
Producers
Jeffrey Richards and Daryl Roth 293
Producer-Director
André Antoine 221
Konstantin Stanislavski 221
Puppeteers
Peter Schumann 69
Copyright 201 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
F eatures xv
Focus on Theatre
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Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
xvi F eatures
Copyright 201 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
F eatures xvii
Focus on Plays
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Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
Preface
T
heatre as a way of seeing is the subject of this book. Theatre, a complex and
living art, requires a number of people engaged in the creative process to craft
and sustain this vibrant form of artistic expression. Many individuals—writers,
actors, directors, designers, choreographers, technicians, craftspeople, managers,
and producers—contribute to the creation of this performing art that has e ndured
for 2,500 years.
In the creation of a theatrical event, writers and artists devise a form of theatrical
art for others to watch, experience, feel, and understand. Chiefly through the actor’s
presence, theatre becomes humanness, aliveness, and experience. As such, theatre does
not exist in any book, for books can only describe the passion, wisdom, and excitement
that derive from experiencing theatre’s stories, colors, sounds, and motion.
xviii
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Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
P reface xix
place of sitting with others in a theatre and experiencing the actors, texts, sets,
costumes, lights, music, and sound effects in a carefully crafted event
demonstrating the human imagination in its theatrical form.
• Model plays. Written as an introduction to the theatrical experience, Theatre: A
Way of Seeing introduces readers to theatre as a way of seeing women and men
in action in the creation of onstage reality and theatrical worlds. After all,
Shakespeare said that “All the world’s a stage, / And all the men and women
merely players . . .” (As You Like It). To assist readers discovering theatre for the
first time and perhaps even attending their first performances, this edition
features a number of “model” plays as examples of trends, styles, and forms of
theatrical production. They range from ancient playwrights to postmodern
writers and include such plays as Oedipus the King, Macbeth, The Cherry
Orchard, The Caucasian Chalk Circle, The Glass Menagerie, A Streetcar Named
Desire, Death of a Salesman, The Life of Galileo, Fences, Juan Darién, the CIVIL
warS, and Glengarry Glen Ross. The musical stage is represented by such
musicals as Oklahoma!, West Side Story, Hair, and Miss Saigon. Each of these
plays has a special place in the ongoing history of theatrical writing and
performance. From Sophocles’s Oedipus the King to Tony Kushner’s Angels in
America, these model plays represent the extraordinary range and magnitude of
human expression as theatrical achievement.
• Texts of several plays. In addition, abbreviated texts of several plays are
included to illustrate styles and conventions of theatrical writing. Excerpts and
scenes from Euripides’s The Trojan Women, William Shakespeare’s As You Like
It, Hamlet, and Macbeth, Anton Chekhov’s The Cherry Orchard, Luigi
Pirandello’s Six Characters in Search of an Author, Bertolt Brecht’s The
Caucasian Chalk Circle, Samuel Beckett’s Waiting for Godot, Tennessee
Williams’s The Glass Menagerie and A Streetcar Named Desire, Arthur Miller’s
Death of a Salesman, August Wilson’s Fences, Tony Kushner’s Angels in
America, and David Mamet’s Glengarry Glen Ross are included.
• Detailed discussions of artists and craftspeople. This new edition also features
expanded discussions of the artists and craftspeople who engage in making
theatre come alive: stage directors and auteurs (Anne Bogart, Peter Brook,
Martha Clarke, Jerzy Grotowski, Elia Kazan, Ariane Mnouchkine, John O’Neal,
Robert Lepage, Andrei Serban, Peter Schumann, Julie Taymor, and Robert
Wilson); playwrights, choreographers, and solo performers; composers and
librettists; producers and artistic directors; dramaturgs and literary managers,
actor-voice-and-movement trainers and coaches; and theatrical designers and
production teams. Moreover, new color photographs illustrate ancient and
modern stages, theatrical designs, international productions, and celebrated
performances.
• Tools to clarify theatre details. There are also tools to clarify details of theatre
history, biography, modern stage history, and terms that belong to the business
of theatre. Synopses of the model plays along with short biographies of
Copyright 201 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
xx P reface
Copyright 201 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
P reface xxi
Supplementary Materials
The seventh edition of Theatre: A Way of Seeing is accompanied by a suite of inte-
grated resources for students and instructors.
Student Resources
• Theatre CourseMate Cengage Learning’s Theatre CourseMate brings course
concepts to life with interactive learning, study, and exam preparation tools that
support the printed textbook. Watch student comprehension soar as your class
works with the printed textbook and the textbook-specific website. Theatre
CourseMate goes beyond the book to deliver what you need! Learn more at
cengage.com/coursemate.
• Theatregoer’s Guide This brief introduction to attending and critiquing drama
enhances the novice theatregoer’s experience and appreciation of theatre as a
living art. This essential guide can be packaged for free with this text.
Copyright 201 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
xxii P reface
Instructor Resources
• Instructor’s Resource Manual This guide is designed for beginning as well as
seasoned instructors. It includes suggested course syllabi and schedules,
teaching ideas, chapter objectives, lecture outlines, discussion questions and
activities, and test questions for each chapter.
• Cognero Online Testing Program Theatre: A Way of Seeing 7e provides a flexible
online testing system that allows you to author, edit, and manage the author
created test bank content. You can create multiple test versions instantly and
deliver them through your Learning Management System from your classroom,
or wherever you may be with no special installs or downloads.
• Evans Shakespeare Editions Each volume of the Evans Shakespeare Editions is
edited by a Shakespearean scholar. The pedagogy is designed to help students
contextualize Renaissance drama, while providing explanatory notes to each
play. The plays included in the series are The Tempest, A Midsummer Night’s
Dream, As You Like It, Hamlet, Macbeth, Richard III, Measure for Measure, The
Winter’s Tale, and King Lear. These critical editions can be packaged with a
Cengage Learning theatre title. Consult your local sales representative for
packaging options.
• A Pocketful of Plays: Vintage Drama This selection of some of the most
commonly taught plays satisfies the need for a concise, quality collection that
students will find inexpensive and that instructors will enjoy teaching. The
plays include source materials to encourage further discussion and analysis, as
well as comments, biographical and critical commentaries, and reviews of
actual productions. The plays featured in the book are Susan Glaspell’s Trifles,
Sophocles’s Oedipus the King, William Shakespeare’s Hamlet, Henrik Ibsen’s A
Doll’s House, Tennessee Williams’s The Glass Menagerie, and Lorraine
Hansberry’s A Raisin in the Sun. Consult your local sales representative for
packaging options.
Acknowledgments
My thanks are due to friends and colleagues for their encouragement and assistance
in the preparation of the previous and current revisions of this book. Those who as-
sisted and advised on the seventh edition are designers, directors, scholars, teachers,
critics, agents, managers, and editors. It is important to mention the contributions of
Judy Adamson, Costume Director, PlayMakers Repertory Company, NC; McKay Coble,
Designer, PlayMakers Repertory Company, NC; Bill Clarke, New York-based set and
costume designer; F. Mitchell Dana, lighting designer and Professor at the Mason
Gross School of Arts, Rutgers University, NJ; Mary Louise Geiger, Arts Professor and
Associate Chairman of the Department of Design for Stage and Film, New York Uni-
versity; Alexis Greene, New York-based author, editor, and critic; Kimball King, Profes-
sor Emeritus of English, University of North Carolina, Chapel Hill; Mary Porter Hall,
production stage manager for Fosse; Carrie F. Robbins, costume designer for M. But-
tefly and Irving Berlin’s White Christmas, Tazewell Thompson, director of Porgy and
Copyright 201 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
P reface xxiii
Bess, City Center Opera Company, New York City; and Liz Woodman, Casting Director,
C.S.A., New York City. Those who suggested useful revisions incorporated in this new
edition were Carey Hansen, University of Mississippi, Oxford; Christopher J. Herr,
Missouri State University; Tracy L. McAfee, Washington State Community College,
Marietta, OH; Jay Malarcher, West Virginia University, Morgantown; Kevin Malloy,
University of Mississippi, Oxford; Donald Stevens, Louisiana Tech University, Ruston;
and Daniel Volonte, Citrus College, Glendora, CA.
Also, my special thanks to the Cengage Learning team for their efforts on behalf of
the seventh edition of Theatre: A Way of Seeing: Michael A. Rosenberg, Publisher
Humanities; Megan Garvey, Managing Development Editor; Rebecca Donahue, Content
Coordinator; Jessica Badiner, media developer; Ben Rivera, executive brand manager;
Michael Lepera, senior content production manager; Paul Blake and Scott Dunay for
G&S Book Services; and Linda Sykes, photograph researcher.
Rhona Justice-Malloy has served as consultant on this seventh edition. She brings
her background as editor of Theatre History Studies, former chairwoman of the The-
atre Department, and Professor of Theatre at the University of Mississippi, Oxford. She
has brought thoughtful suggestions, skillful editing, and useful revisions to this new
edition. She is a colleague to be praised for her knowledge of theatre history, her com-
mitment to excellence in research and writing, and for her friendship as a colleague
and collaborator.
Again, my special appreciation to Linda Sykes for undertaking another edition
of Theatre: A Way of Seeing and for her patience and persistence in the collection
of remarkable images to illustrate the theatrical experience over several editions of
this book.
Milly S. Barranger
Copyright 201 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
© Joan Marcus
Copyright 201 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
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»Niin…»
Patruuna kivahti:
Tämä talvi oli ollut onneton kaikin puolin, ja nyt viimeiseksi tämä
Santerin asia… Hän oli näinä vuosina niin tottunut luottamaan
Santeriin, ettei itse tarvinnet huolehtia mistään.
»Ei siitä tule mitään!» karjaisi Lamppa niin että huone tärisi. »Ulos
minun huoneestani!»
Hän palasi huutaen konttoriin, mutta alkoi voida niin pahoin, että
tuskin Tiltan avulla pääsi vuoteeseen, jossa hiljakseen valitteli Tiltan
häntä hoivatessa.
*****
Usein Jussilla nyt olikin asiaa Lampalle, ja joskus sattui myös Iso-
Liisa sinne hulmuten hiihtämään keväthankea pitkin. Ylimaalaisia
kulki paljon rantamailla ja heille Jussi ja Iso-Liisa minkä mitäkin
pienempää tavaraa kavalsivat Lampalta, etupäässä kuitenkin
konjakkia ja viinaa. Suomen puolen rajavartiosto oli vähälukuinen, ja
laukussaan Jussi ja Liisa toivat mitä sopi kulloinkin. Joskus Jussi
kuitenkin, kun sattui isompi tilaus, otti kelkan, latoi siihen tuomisensa
ja hiihteli yön aikana mökilleen.
Näin kului sitten kevät, ja kesä alkoi tehdä tuloaan. Pitkät päivät oli
ollut kaikilla, jotka odottivat Santeria ja välikäräjäpäivää, mutta
kaikkein pisin oli aika patruunalle.
Häntä rasittivat monet huolet. Omat asiat menivät nyt päin seiniä,
mutta vielä hän kuitenkin uskoi niistä selviävänsä, sittenkun pääsisi
Santerin kanssa yksissä tuumin niistä puhelemaan. Sillä hänestä
tuntui, ettei hän pystyisi mihinkään hommaan, ennenkuin saisi
luotettavan kumppanin.
»Niin on kerrottu.»
»Vie sinä paljon terveisiä Santerille ja sano, ettei tässä ole hauska
minunkaan, ja anna tuo kori hänelle… siinä on vähän suumakeaa,
että hänellä mieli edes hiukan rohkaistuisi, kun pitää oikeuden
edessä seisoa…»
Santeri oli nyt ollut puhumatta pitkän aikaa, istunut pää rintaa
vasten, jäykästi eteensä tuijottaen…
*****
Ranta-Jussi kyllä tiesi, keitä siellä oli ollut, mutta hän osasi kyllä
pitää suunsa kiinni ja selitti kaikille, ettei Santerikaan ollut mukana,
arvellen muuten, että ne olivat olleet Makonkylän ja Järvikylän
miehiä.
»Sitä asiaa minä en tiedä, mutta julma sillä oli ilme koko välin»,
vastasi vanginkuljettaja.
Mitä nyt emäntä sanoisi? Mutta jäihän siihen talo ja ties kuinka
paljon rahaa…
Hän meni puotiin, jossa Tilta seisoi yksin tiskin takana silmät
itkusta punaisina.
Ja hän oli melkein hyvillään, kun muisti, että nyt hänen sopi yksin
nauttia koko sen korillisen sisällys, jonka patruuna oli Santeria varten
hänelle antanut.
Updated editions will replace the previous one—the old editions will
be renamed.