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Explores the actor as subversive celebrant in premodern popular theatre, with special attention to Aristophanes' Frogs, medieval mystery plays, and Shakespeare's As You Like It.

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Audiences attended performances of comedies in numbers far surpassing those of any other form of theatre.

Theatre was one of many German institutions experiencing profound change in the aftermath of World War I. Industrial comedy describes the most important and most predominant form of comedy on German stages from 1919 to 1933.

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This study reveals how dramatists reacted to the events of the Atomic Age and the early thermonuclear era. It also quotes a range of reflections on the bombing of Japan, the Cold War, the development of refined atomic weapons, the increase of fallout shelters, and the occurence of strategic crises.

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A collection commemorating the centennial of O'Neill's birth, this volume comprises contributions from a range of fields, such as psychology, English literature, philosophy, the classics and theatre arts, offering a variety of perspectives on and interpretations of his life and art.

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Fredric March was one of the foremost actors America produced during the 20th century, holding the distinction of winning Best Actor Awards in two films and two Broadway plays.

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Provides accounts of the careers and accomplishments of eight directors, taken as exemplars of the spectrum of directorial art of the English-speaking stage as it has developed in the 20th century. Their styles and techniques range from commercial to classic to avant-garde.

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He launches this work with the first Hamlet portrayal, that of Richard Burbage, and then, in chronological order, describes and analyzes the Hamlets of the other actors who make up the great tradition of English-language Shakespeare acting.

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The text of the fully annotated playscipts of Orson Welles' celebrated adaptations of three Shakespearean plays. Texts for the "Voodoo" "Macbeth" and the modern dress "Julius Caesar" are stage managers' working copies. The version of "Five Kings" is the oldest surviving text and the most inclusive.

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Employs theoretical aspects of mental and verbal imagery to explain iconicity as an artist process for acting and staging dramatic works.

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This stage history of "Richard III" covers all major English and American interpretations and some foreign-language productions to the present day, examining the stage in the context of prevailing theatrical practices within each era.

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The North of Ireland has long been plagued by violent conflict, and dramatic works from that region often reflect the ongoing social turmoil. Each work was either written by a writer from the North of Ireland or was staged in the North, and all the plays discussed either directly or indirectly confront issues of sectarian conflict.

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It successfully argues that William Shakespeare was the pen name of an aristocrat, and that William Shakespeare of Stratford was a shrewd entrepreneur, not a dramatist.

Price exposes numerous logical fallacies, contradictions, and sins of omission in the traditional accounts of Shakespeare's whereabouts;

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This book looks at four of Shakespeare's plays - As You Like It, King Lear, Pericles, and The Winter's Tale - and the primary source texts on which they are based, to show how the dramatist refashioned earlier works.

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Although children's theatre has been a part of American culture from early times, historians have not always included it in the documentation of our theatrical heritage.

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In this unique study of the dramatic form, Oscar Lee Brownstein presents a personal analysis of the way in which experience is created by drama. This work will be an important resource for students of dramaturgy, criticism, and dramatic theory, as well as for writers, directors, and actors involved in the dramatic arts.

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Studies the effect of Thatcherite ideology and policies on British subsidized theatre, left-wing drama, the development of women's and black theatre, and innovative writing for the stage.

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An analysis of the social context of the musical "Hair" and the hippies, describing the tenor of the Broadway theatre of the 1960s and the experimental trends Off-Broadway that culminated in "Hair"'s innovations on the Great White Way.

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This volume investigates Shakespeare as a member of his acting company, dates and casts all the plays presented by them from 1594 to 1614, and explores the effects of the actors on his writing. In doing so, it attempts to provide a better understanding of Shakespeare's life in drama.

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Investigates how British history plays since 1956 reflect the methods and values of New History, including Marxism, Social History, Feminism, Deconstructionism, and Postmodernism.

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This book is about leaders of the modern American theater who resisted the temptation to fill the stage, preferring instead the evocations of a simple stage.