European theatre performance practice. Vol. 4 : 1900 to the present (engelsk)

[Vol. 1] Introduction; Part I Records: St John’s College register of inventories (1548-9), Trinity College Inventory (1550), Alan H. Nelson; Cordwainers’ and shoemakers’ accounts (1549-50), Smiths’, cutlers’, and plumbers’ accounts (1560-61), Bowyers’, fletchers’, coopers’, and stringers’ accounts (1571), Painters’, glaziers’, embroiderers’, and stationers’ accounts (1571), Elizabeth Baldwin, Lawrence M. Clopper and David Mills; Cappers’ records (1540), Drapers’ accounts (1563), Smiths’ accounts (1584), R.W. Ingram; Corporation chamberlains’ accounts (1573-4) (Elizabeth’s visit), Willis’ description of a play at Gloucester (1570s), Audrey Douglas and Peter Greenfield; Chamberlains’ accounts (New Romney, 1483-6 and 1560-61), James M. Gibson; Grocers’ Guild records (1564-5), David Galloway; Mercers’ pageant documents (1433) (indenture), Mercers’ pageant documents (1461) (expenses), Alexandra F. Johnston and Margaret Rogerson; Of perspective, Sebastiano Serlio; Third dialogue, Leoni di Somi. Part II Pageant Vehicle Staging: The York Mercers and their pageant of Doomsday, 1433-1526, Alexandra F. Johnston and Margaret (Dorrell) Rogerson; The development of the York Mercers’ pageant waggon, Peter Meredith; The manner of these playes, John Marshall; The Coventry pageant waggon, Reg Ingram. Part III Other Forms of Staging: Criteria for a popular repertory, David Bevington; La festa d’Elx: the Festival of the Assumption of the Virgin, Elche (Alicante), Pamela M. King and Asunción Salvador-Rabaza; Drama and the city: city parades, Katie Normington; Moving encounters: choreographing stage and spectators in urban theatre and pageantry, Tom Pettitt ; Part IV Costume, Mask and Stage Effects: Apparell comlye, Meg Twycross; Gunnepowdyr, fyre and thondyr, Philip Butterworth; Mystery plays, Meg Twycross and Sarah Carpenter; Magic through sound: illusion, deception and agreed pretence, Philip Butterworth. Part V Playing: ‘Look at me when I’m speaking to you’: the ‘behold and see’ convention in medieval drama, David Mills; Prompting in full view of the audience: a medieval staging convention, Philip Butterworth; ‘Walking in the air’: the Chester shepherds on stilts, John Marshall; Devotional acting: Sydney 2008 and medieval York, Margaret Rogerson; Parts and parcels: cueing conventions for the English medieval player, Philip Butterworth; The professional travelling players of the 15th century: myth or reality?, Peter Meredith. Part VI Audiences and Spectatorship: Medieval theatricality and spectatorship, John J. McGavin; The 15th-century audience of the York Corpus Christi play: records and speculation, Peter Meredith; New evidence: vives and audience-response to Biblical drama, Sarah Carpenter; Faded pageant: the end of the Mystery plays in Lille, Alan E. Knight; Framing the Passion: mansion staging as visual mnemonic, Glenn Ehrstine; Name index ; [Vol. 2]: Introduction. Part I Playing Spaces: The changing scene: plays and playhouses in the Italian Renaissance, Michael Anderson; The theatres, John Orrell; Staging and performance, Jonathan Thacker; The material conditions of Molière’s stage, Jan Clarke. Part II Staging: Shakespeare’s stage, J.L. Styan; Shakespeare’s theater: tradition and experiment, Robert Weimann; Women at the windows: commedia dell’ arte and theatrical practice in early modern Italy, Jane Tylus; The circulation of clothes and the making of the English theater, Ann Rosalind Jones and Peter Stallybrass; Absorbing interests: Kyd’s bloody handkerchief as palimpsest, Andrew Sofer; Insubstantial pageants: women’s work and the (im)material culture of the early modern stage, Natasha Korda. Part III Acting: Ruzante and the evolution of acting practice in Renaissance Italy, Ronnie Ferguson; Arte dialogue structures in the comedies of Molière, Richard Andrews; Rogues and rhetoricians: acting styles in early English drama, Peter Thomson; Rehearsal, performance and plays, Tiffany Stern; Comic stage routines in Guarinonius’ medical treatise of 1610, M.A. Katritzky; ‘La virtu et la volupté’: models for the actress in early modern Italy and France, Virginia Scott; Acting, Gerry McCarthy. Part IV Audiences: The audiences, Andrew Gurr; Theaters and audiences, Stephen Orgel; Women as spectators, spectacles, and paying customers, Jean E. Howard; Toward reconstructing the audiences of the commedia dell’ arte, Robert Henke; The audience, W.L. Wiley; The actors and their audience, N.D. Shergold. Name index ; [Vol. 3] Introduction. Part I Acting and Performance: Nature to advantage dressed: eighteenth-century acting, Alan S. Downer; Vitalism and the crisis of sensibility, Joseph R. Roach; Garrick, the ghost and the machine, Joseph R. Roach; The performance practice of acting: the eighteenth century part I: ensemble acting, Dene Barnett; The dangers of the new sensibilities in eighteenth century German acting, Gloria Flaherty; ‘Reading Shakespeare by flashes of lightning’: challenging the foundations of Romantic acting theory, Tracy C. Davis; Researching the acting of French melodrama, 1800-1830, Gabrielle Hyslop; The training of actors at the Paris Conservatoire during the nineteenth century, F.W.J. Hemmings; Players and painted stage: nineteenth century acting, Alan S. Downer; On natural acting, George Henry Lewes. Part II Staging, Scenery and Lighting: Lighting at the King’s Theatre, Haymarket, 1780-82, Judith Milhous; Appendix A. Pantomime trickwork, David Mayer; The German stage in the nineteenth century, Brigitte Schatzky; Gas man’s duties. Lighting the rehearsal. Exterior lighting. Pilot lights and electrical ignition. Rehearsing the lighting, Terence Rees; The modern theatre - the stage, M.J. Moynet (translated and augmented by Allan S. Jackson with M. Glen Wilson); Professor Pepper’s ghost, George Speaight; Erasing the spectator: observations on nineteenth century lighting, Victor Emeljanow; Art in the theatre: I - scenery, William Telbin; Art in the theatre: the painting of scenery, William Telbin; Art in the theatre: spectacle, Augustus Harris; From political to cultural despotism: the nature of the Saxe-Meiningen aesthetic, John Osborne. Part III Audiences: From courts to consumers: theater publics, James Van Horn Melton; Tears and the new attentiveness, James H. Johnson; Working-class audiences, F.W.J. Hemmings; The audiences of the Britannia Theatre, Hoxton, Clive Barker; New views on cheap theatres ; [Vol. 4]: Part I Acting and Performance: When acting is an art, Constantin Stanislavski, trans. Elizabeth Reynolds Hapgood; Michael Chekhov on the technique of acting: ‘Was Don Quixote true to life?’, Franc Chamberlain; The dance of the future, Isadora Duncan; The actor and the über-marionette, Edward Gordon Craig; Actors on Brecht, Margaret Eddershaw; Introduction, Rudolf Laban; Samuel Beckett as director: the art of mastering failure, Anna McMullan; Performance, Jennifer Kumiega; Theatre theory: sociology and the actor’s technique, Ian Watson; The masks of Jacques Lecoq, John Wright; Woman, man, dog, tree: two decades of intimate and monumental bodies in Pina Bausch’s Tanztheater, Gabrielle Cody; On risk and investment, Tim Etchells; On seeing the invisible, Peggy Phelan. Part II Staging Performance: Of the futility of the ‘theatrical’ in the theater, Alfred Jarry; Ideas on a reform of our mise en scène, Adolphe Appia; The founding and manifesto of futurism, Filuppo T. Marinetti; Biomechanics and constructivism, Edward Braun; The naked stage, John Rudlin; Theater (Bühne), Oskar Schlemmer; The documentary play, Erwin Piscator, Bertolt Brecht (1898-1956) and Caspar Neher (1897-1962), Joslin McKinney and Philip Butterworth; Production and metaphysics, Antonin Artaud; Myth and theatre laboratories, Peter Brook; After ideology: Heiner Müller and the theatre of catastrophe, David Kilpatrick; 1789, Victoria Nes Kirby; Notes on political street theatre, Paris: 1968, 1969, Jean-Jacques Lebel; Make-believe: Socíetas Raffaello Sanzio do theatre, Nicholas Ridout; Spectacle, synergy and megamusicals: the global-industrialisation of the live-entertainment economy, Jonathan Burston; The digital double, Steve Dixon ; Part III Representation and Reception: Women’s suffrage drama, Katharine Cockin; A propertyless theatre for the propertyless class, Tom Thomas; Modern dance in the Third Reich: six positions and a coda, Susan A. Manning; Reading The Blacks through the 1956 preface: politics and betrayal, Carl Lavery; Performance, community, culture, Baz Kershaw; The politics of representation in DV8’s Dead Dreams of Monochrome Men and Adventures in Motion Picture’s Swan Lake, Ramsay Burt; ORLAN’s performative transformations of subjectivity, Tanya Augsburg; Addenda, phenomenology, embodiment: cyborgs and disability performance, Petra Kuppers; Performing like an asylum seeker: paradoxes of hyper-authenticity, Silvija Jestrovic; The role of national theatres in an age of globalization, Janelle Reinelt; There is a word for people like you: audience. The spectator as bad witness and bad voyeur, Florian Malzacher. Name index