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    148 views339 pages

    Living Theatre 7th Edition

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    Gabo Tolentino

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    © All Rights Reserved
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    of 339
    A earns A HISTORY OF THEATRE x.) EDWIN WILSON ALVIN GOLDFARB SEVENTH EDITION Living Theatre A HISTORY OF THEATRE SEVENTH EDITION Edwin Wilson Graduate Center. CUNY, Emeritus Alvin Goldfarb Western ilinois University, Emertus Bt 6 W. NORTON & COMPANY "NeW YORK LONDON \W. W. Norton & Company has been independent sine its fouuding in 1923, whem Wiliam Warder Norton and Mary D. Herr Norton first publsted lectures delivered 2 the People’ Insite, the adult edacation division of New York City Cooper Union, “The fen soon expanded i program beyond the Insite, publishing books by celebrated scademics fom Ametica and abroad. By midcentur, the 090 mujoe piles of Noston’ publishing program—tade books and college text-—wer firmly esulished. Inthe 1950s, ‘the Norton family transfered conto of the company to its employees, and today with 4 sf of four hundred and s comparable numberof rade, celles, and profesional les publshed each year—W. W.Norton & Company stands ste gest and olds publishing house owned wholly by its employees. Copyright © 2018, 20122007, 200, 1994, 188 by Bain Wik and Alen Gali ‘Agha reserved tor: Fete Sioa ‘Asocite Editor, Gers Goff Project Editor: Chrsine D'Antona Manasecpt Eton Alc Vigan Maraping Editor, Calpe: Marian Jon “Managing itor Cage Digtal Medi Kim Yi Prodocon Manager: Ben Reynolds Media Eior Cay Fraser Doria “Media Projet Ear KriinSherin ‘Asiaot Media Eos: Aa Branson Marketing Manage Literate Kime Bowess Design Deron Li Sigil. howe Ear: Te Sceponki Photo Resets lge King CComposson: Jouve laren: Mepping Specs Manutacrarng Tanaconsinna Permision wows copyrighted materi ined on page Ch |W.W.Noron & Company ne, $00 Fh Avenue, New York,NY 10110-0817 ‘WW Nowon & Company El, 18 Cate Stee, London WID SBS 2a4se7890 To the memory of our parents Brief Contents Chapter 1 Theatre: Its Origins and Its History 3 PART 1 PART 2 PART 3 PART 4 Early Theatres Theatres of the Theatres from Modern Theatres Chapter 2 Greek Theatre 33 Renaissance 1660 to 1875 ‘Chapter 12 Theatres from 1675 to 1915 363 (Chapter 3 Roman Theatre 71 Chapter 6 The Theatre of the Italian Chapter 9 The Theatre of the English (Chapter 13 Theetres from 1915 to 1950 437 ea Cees Renaissance 159 Restoration 273 Chapter 14 Theatres after 1950: Tacitionl and Chapter 5 Medieval Theatres in Europe 125 Chapter 7 The Theatre of the English Chapter 10 Theatres in the Eighteenth Experimental 479 Renaissance 191 Century 303 Chapter 5 Theatres after 1960: Mticutural Chapter 8 The Spanish Gclden Age and Chapter 11 Thestros from 1800 to 1875 343, ‘and Global $37 French Neoclassical Theatres 231 wl vu Contents Preface wi About the Authers x ‘(CHAPTER 1 Theatre: Its Origins and Its History ‘Why Shoula We Study Theatre History? 3 Theatres Unreal § “Theatre in Everyday Life S Imitation. Rolain. ae Stryteling Popular Entrainment 6 Ceremonies Rituals 7 Partelpatry anaimenrsve These 12 Pronto of Theatre 12 ‘How Historlans Reconstruct the Elements of Theatre 14 Playing Space 15 The Audience 15. “The Performan 15 sua laments 15 Texts 16 Coordination the Elements 16 Social Requrements 18 “The Study of Theatre History 17 “Tadional Cronologial Naratves 17 Recent Historia Approaches 18 How De Sehoiars Study Theatre History? 23 Where Oo Teste Historans Present Ther Won? 26 Theatre in story Ponts to Remember 24 Debates in Theatre History: Is Therea Canon of Dramatic Tents? 26 ‘Summary 28 eee PART1 Early Theatres CHAPTER 2 Greek Theatre. 3 ‘Background: The Golden Age of Greece 33 (Origins: Greek Theatre Emerges 36 ‘Theatr in the Fifth Century nc. 37 (Greek Theatre and Greek Region 27 Festivals and the Cty Donia 37 Debates in Theatre History Did Worren Aten Drama estate? 29 1s Paot and Presort: Theatre Festal Today 41 Greek Theatre a Greek Myths 42 ‘reek Tage 42 ‘Climatic Drama and Greek aged 49 sate Pays 53 Old Comedy 54 Creek Theatre Production $6 Debates in Theatre History: Tne Configuration ofthe (Greek Orchestra and Shere 37 “Theatre inthe Hellenistic Age Helene Theatres 63 1s Past and Present The Theat of Epdaurus 64 Helenitle Acting 66 New Comedy 67 Summary 68 ‘CHAPTER 3 Roman Theatre. |Background: The Republic and he Empire 71 “The Development of Roman Theatre: Popular Influences 2 Roman Comedy 77 Debates in Theatre Mistry as Terence the Fist Bick Playwright? BY Roman Tragedy 81 Dramatic Critieism in Rome 2 ‘Theatre Production in Rome 84 ‘Actors and Acting Corearies 8¢ ‘Theatre Buldngs and Scenic Elements 85 Popular Entertainment in Rome 88 1 Past and Present: The Colostum 91 ‘The Decline of Roman Theatre 52 ‘Summary 93 CHAPTER 4 Early Asian Theatres % ‘Background: The Theatres of Asia 95 Indian Theatre 37 Sanskit rams $2 Later ncan rama 101 (Chinese Theatre 101 Ely Theatre Ching 102 Theate nthe Yash Dynasty 103 Debates in Theatre Histon: Dd Paywights nthe Yuan Period Greate Tragedies? 108 Theatre inthe Ming Dynasty 106 Later chinese Theate 107 Japanese Theatre 107 Ely Teatrein Japan 108, e208 Bunrak 122 buh 15 1s Past and Present: abut 119 Southeast Asia Shadow Plays 120 ‘= Past and Present: Pupetry 123 ‘Summary 123 ‘CHAPTER 5 Medieval Theatres in Europe 7 [Background: The Middle Ages 125 ‘Byzantium: Popular Arts and “Theatrical Preservation 128 “The Mile Ages in Western Europe 128 \Uturgical Drama 132 Development Weel Liturgical rama 122 Debates in Mestre History: Wy Wis Hrostha Ignored for SoLong? 133, Producing ities Oram 194 1 Debates in Meatre History: The Origins of Medieval ‘Theatre and he ole of Quem quart 186, Early Medieval Theatre in France 136 ‘The Development of Religious Vernacular Drama 137 Mystery or Cycle Plays 138, [Engien Cyl Cromas and The Second Shahar Play 140 “The Emerge of pod Form 120 Producing the yee Pays 142 1 Past and Present: Passion Plays 143 1 Past and Present Steet These 150 Morality Pays 150 ‘eryman 151 Producing the Morality lays 152 ‘Secular Theatre inthe Middle Ages: Popular Forms 152 “The Decline ofPligious Theatre 154 ‘Summary 155 PART 2 Theatres of the Renaissance CHAPTER 6 The Theatre of the Italian Renaissance ‘Background: The Renaissancein tly 159, ttalian Theatre 162 Drama 162 1 Debates in Theatre History: Adaptations a¢ Sources of Grama 154 Opera 166 Commedia deat: A Popular Theatre Form 167 f Past and Present: Improvisation 171 & Debates in Theatre History: Women Ferformersin Commedia gate 122 \talian Theatre Architecture 173 Theatre uigs 173 1 Pat and Present: Testo Ofrpico 174 Audience Seating 177 Seane Design and Early Theatre Technology 178 ' Debate in Theatre History: What isthe Exact ‘Origin ofthe Prosser Ach? 179 fan Dramatic Criticism 284 he Neoclassical deals 184 ‘The Neceaeeets nfuence 197 ‘sues of rama Critciem 187 “The Legacy of the Italian Renaissance 189, ‘Summary 169 CHAPTER 7 The Theatre of the English Renaissance 191 Background: The Renaissance i England 193 “The Early Drama ofthe English Renaissance 183, Elizabethan Drama 195 Ezabethan Playwrights 196 Mariowe andthe Mighty Line 195 Shakespeare's Skil and Dnersity 200 1 Past and Present: Shakespeare Four Centres ater 202 ‘Elizabethan Theatres 203 ‘Theatres and reduction Practices: Problems of Resear 203 {Debates in Teste History ho Wrote ‘Shavespeaca's Plays? 204 Private Theatres 213, 1 Debates in Theatre History: The Camosignto ‘Svethe Roea and fs Impack 28 Seeney and Costumes 216 Etizabethan Acting Companies 217 ‘Ta Lord Ghamberian’s Men 217 ‘The Admits Men 218, Organization of Acting Companies 218 eting Practices 219 Representation of Ferale CharactersinEkzabthon ‘haste 220 Osbates in haste History: Elzabethan Acting Sy 221 Jacobean and Caroline Drama 222 ‘Court Entertainment The Masque 226 ‘Summary 229 CHAPTERS The Spanish Golden Age and French Neoclassical Theatres : 2a ‘Bockground: The Spanish Golden Age 233 Religious Theatre in Spain 224 Religious Oraras: Autos Sacramentlas 234 Producing the Autos Saeramentsies 234 ‘Secular Theatre in Spain 235, ‘Comecas 236 Spanish Dramatists 238 Famal Playwrights 242 Producing the Comedia 242 s Debates in Theatre History: What Was the appearance tthe Cora del Principe? 288 ‘Scenery the Stage. and Costumes 245 1: Debates in Theatre History A Lost Sanh Fepular Enteraement? 246 ‘cong Companies 247 ‘he Stats of Actresses 247 ‘Background: France in the Sixteenth and ‘Seventeenth Centuries 248 x i French Drama 250 ary rama, Popular Theatr. nd Pagantry 250, Nealassi Oram 251 alt at Curt 258 “Theatre Procuctionin France 259 ‘retest, Seeery and Technology 259, dete 261 ts Past and Present The Conécie Frage 262 1 Debatesin Theatre History: Should We Envy Europe's Natenal Tresror? 266, adiences 268 ‘Summary 268 a PART 3 Theatres from 1660 to 1875 ‘CHAPTER 9 The Theatre of the English Restoration. 23 Background: The Restoration 273, ‘Theatre during the Commonweaith 275 “The Theatre of the Restoration Begins 276 ‘Restoration Drama 278 Serious Bama 278 Restoration Comedy 279 “The Transition from Restoration Comedy to Eighteenth Century Drama 285 Restoration Audiences 268, Performers 289 Actrestes ane Actors 289 etn Companies 233 ‘Restoration Theatree 204 CGovernmntand he Teaties 294 Theatre Arcntectre in the Restoraton 205 1 Debates in Theatre Histor: The Dorset Garden Theatre 296 Soanery, Seen Shifting Technology, Costumes ond ging 297 S Past and Present: The Ory Lane Theatre 298 Tove in Theatre History 300 ‘Summary 300 CHAPTER 10 Theatres in the Eighteenth Century. 303 Background: The Eighteenth Century 202, Eighteenti-Century Drama 308 ‘Male-cass Wagoey 307 "Ney Popular Forms: Balad Opera and Comic Opere 309 Sentiment! Comody and Laughing Comedy 310 Comadyn Eghtamth Century France 313 Storm aed Stress 324 Reais ad Departures rom Reals in Comedia stare 315, Melodrama: A Popular Gene rerges 317 ‘Theatre Rogulation 317 Regultion of Thatres nFrance 317 Goverment and Thestrein Germany 318 Regulnin of Testes in England 319 ‘Theatre Bulaings 319 Covent Garden 319, Thoatresin Europe 221 1 Pastand Present: Drotringhoim There 222 TeatesinAmeriea 323 “Theatre Production 225 Soxnery 325 Seentcand Teta Experiments 327 1 Debates in Theatre History: When Was te 8) Set introsuced? 328 Costunes 328 Acting 329, The Eaiy Emergence ofthe Doctor 334 {Debates in Theatre History: Wo Was the Fret rector? 335 1 Pastand Present: Actor Oiectors 338 ‘Summary 341 ‘CHAPTER 11 Theatres from 1800 to 1875. 383 ‘Background: The Nineteenth Century 245 “Theatre in Nineteenthy Century Life 347 Popular Entertainment 347 & Debates in Theatre History: Is opal Entertainment Wonyor Serious Stuy? 349, ‘Theatre Rite 250 ‘Theatre and Naionatem 351 Nineteenth-Century Drama 352 Romantisem 353 eoceams 354 1 Past and Present: Melorarna 357 “he Wet Made Play 357 [Nineteenth-Century Theatre Production 359 detog Stes 358 Aetng Moor: Delsarte 363 The Acting Potesson 364 Further Stops towacd Dcting 358 “Theatre Arcitstre 374 1 Past and Present: The Bayreuth Festsplethaus Seaestval 378 Seanery,Cortunng. nd ghing 279 [Nineteenth-Century Global Theatre “Tends: Russia 332 ‘Global Theatre: Asia 385 Peking (Belng) Opera: Nineteenth Contry Devetpment 38 ‘Summary 386 ee a) PART 4 Modern Theatres CHAPTER 12 Theatres from 1875 to 1915 398 Background: The Tum of the Century 293 ‘The Emergence of Realism 395, Realistic Drama 396 atric rama 399 Produces of Realism andNatrasm 400 Rest eting 408 Visual lrentsinReabic Theatre 12 ‘The Emerging American Theatre 412 ary American Realm ater 1875 412 xi Early Departures from Realism 414 Symbolism 424 Wedekind sen and Strncarg 415 Producing Departures rom Realism 7 Eclectios «28 Popular and Commercial Theatres 425. Debates in Theatre History: Wy Are Women's Contributions to Theatre History Ovetooked? 27 Multicultural Theatre: ‘African American Theatre 428 ‘Atcan Arenesn Stock Companies ‘ho atayete Payers 429 ‘Ntcan Arnenea in Popa Theatre 420 (Global Theatres, 1875-1915 450 Aslan Theatres 431 EaryTwenith Century Chinese Theatre 43k Thestreininaa 422 Theat Japon 453 Theatein Southeast Asa 434 ‘Theatre nthe Mile East ang Area 424 ‘Summary £26 CHAPTER 13 Theatres from 1915 to 1950 “7 Background: A Time of Unrest—The World Wars «37 ‘Theatre of Unrest: Dramatic Innovations 440, xoressiontim 441 Futurism ana Dade 443 xw Surreal 3 The Baunaus 248 ‘Theatre ofCruty 445 Epic Theate 448 European Theatres during the War Years: ‘Adéitional Innovations 451 France 451 Span 452 hay 454 Great Briain 455. ‘Theatres under Ttatarisnism 457 Debates in Theatre History: Easting Teaitaran Art 458 “American Theatre: Popular, Noncon ued, ‘and Multicultural 459 Commmetll versus Nonearmeci Theatre $59 Playwrights nthe United States 462 ‘The"Litle Theatre” Movemant 465 ‘The Group Theatre 466 ‘he Federal Theatre Project 468 Cole and Universit Theatres 469 Muticutura Theatre: tren American Teste 460 (Global Theatres 474 Theatrein Cn 44 Katha in na trom the SevertsnthtoTwentitt Cantiry 476 Theatein Japan 477 ‘Summary 477 CHAPTER 14 Theatres after 1950: Traditional and Experimental a9, Background: Post World War I-A Time ‘of Social Upheaval 479 “Trends in Theatre since 1950 489 “Taditonal Drama: 1950 tothe Present 423 ‘Sehetve Realism 484 ‘Variations on Traditional Realism 490 ‘Non-Commercial US. Theatres 422 Regona Teste 493 ‘Off Broadway, OfF-OfF Broadway, and ‘Alternative Regional Theatres 45 British Relism: Angry Young Playwrights and Their Influence 428 Documentary Drama: Fact Based Realism 499 Popular Traditional US. Theatre 01 Contemoorsey American Musical There SOL Innovation and Experimentation 507 stents 508 ‘Theatre ofthe Absurd 8 Happenings and Muted 51S Envzemnnl Theatre 515 New Technology 518, Postwar Eclectic Directors 520 (Off of roxaway: Haven Expert este 521 Postmodernism 525 The Pertormance Group a Richard Sehwehner 526 ‘The Wooster Group 526 snouMines 526 Other Ateenative Ensembles 827 ‘Akernatwe Arian Decors 528 Performance Art 520 Surnmary 535 CHAPTER 15 Theatres after 1950: Multicultural and Global.....s37 ‘Background: Multicultural Theatre 537 ‘African American Theatre 538. ‘Aean American Theatre after Weld aI 538 Civ Rights ane Arican American taney neste 1960-1980 $40 ‘Nean American Producing rgwirations 1970s o he Present 542 ‘antempacary trican Amarin Director: 1980 tothe Present S43 ' Debates in Theatre History: Color-Binand Nontraditional Casting 547 Contemporary Avian Ameccan Playwrighls S47 Latino/e American Theatre S42 Chicana Tete 549 Cuban American Theatre 550 Nuyorican Theatre 552 (ther Latina’ Thestre Companies nd Perorars 552 xv ‘Asian American Theatre $52 Native Amorican Theatre 555 Natve Anercan Teste Companies S56 Native AmeveanPlyihts 557 Other Muticultural Playwrights and Theatres 557, Feminist Theatre 552 Fornist Theatre Companies inthe Unted tates 561 ‘Gay and Lesbian Drama 561 (Gay, Lesion, and Transgender Theatre Graups $63 Background: Approaching Global Theatre 565 “Theatres in India, China, and Japan 566 “Theatres inthe Mile East 570 ‘African Theatre and Drama 572 Northers rabie Speaking) Aca 573 French Speaking (Francophone) Aca 572 Engh Speaking (Angophone) Aca 54 Latin Ametiean Theatre 577 ‘cuban Theatre 978 x Canadhan Theatre 578 ‘Australian Theatre 560 Russian and Easter European Theatre 581 Rosse 58 Poland, omaria.and the Cztch public 581 ‘Theatre in Western Europe, Britain, and ireland 583 Westen European Directors 583 ‘German, tan. an french Dramatis S86 Key Brith anirsh Playwrights S87 uropeanand Brish There Companies 529 ‘The Vitality and Endurance of Live Theatre $93 “Technology and the Global Theatre £94 ‘Summary 595 ‘Glossary of Theatrical Terms GL Pronunciation Guide: Theatrical Terms and Names PL Selected Dibigrahy BL ‘Credits C1 Index Preface to the Seventh Edition by definition, any history isa chronicle—a recapitulation or a reconserction ‘of events from the past. It cannot, cherefore, be a contemporary, spontaneous ‘occurence. And yet, that is precisely what theatre isan event that exists not an the pase but in the present. In fic, theatte exists only atthe moment when it ‘occurs. The essence of theatre isan immediate exchange between the audience and what unfolds onstage: performances, words of a text, and visual effects of ‘et, lights, and costames. ‘The firs challenge, therefore, of writing histories of theatre is to bring theatre from the past to life today. In Livi Theat, we have taken a number of teps to achieve his. Our original goal in writing Living Theatre was, frst of ll, co create 2 thoroughly accurate, reliable, up-to-date history of theatre. At the same time, we wanted to produce a lively text that was entirely readable and engaging, not simply a chronicle containing fcts, names, and dates. In short, we wanted to avoid producing a volume that read like an encyclopedia; instead, we sought to ‘develop one that helped studentsto understand the key concepts in each historic period and to visualize how plays were staged in che past. The goal was to ensure ‘hat our coverage was comprehensive and highlighted key figures and event Inaddition, we trove to cover mulkiculeural and global atsts and theatres, The postive response among our many adopters, we believe, is an indication that ‘our approach has been pedagogical successful. In the current edition we have ‘continied co tevie, add, and reorganize in our ongoing effort to be as accesible, ‘comprehensive, up-to-date, and inclusive as posible. ‘The seventh edition of Living Theat retains all the features that have been well received by students and profesor in previous editions while debuting a new ‘featur, incorporating new findings and debates in contemporary scholarship, and adding significant new sections. Engaging Features Past and Present ‘By exploring how older theatrical practices, traditions, and theatres are currently ‘used, new Past and Present features focus on the myriad ways the theatre of che [pas shapes and inspires the theatre of the present. In Chapter 2, for example, we ‘seuss how the mcredible acoustics and impressive design and size of the Greek ‘theatre of Epidaurus enable ito stil be used for performances today, fully 2,400, xvi Preface years after its construction. In Chapter 11, we discuss melodrama and how its tropes and character archetypes continue to be evident in the drama of today, notably in soap opera, crime television shows, and even Hitchcock filme. We also discuss how these archetypes are often subverted in modern drama to create ‘more complex and interesting characters. These features are often accompanied by contemporary photos depicting the way a given historical practice or theatre looks today. Other Past and Presene features include: + Theatre Festivals Today + The Colosseum + Kabuki + Puppetry + Passion Plays + Street Theatre + Improvisation + Teatro Ol + Shakespeare Four Centuries Later + The Comédie-Frangaise + The Drury Lane Theatre + Drottningholm Theatre + Actor Directors + ‘The Bayreuth Festspielhaus and Festival Debates in Theatre History ur mose popular feature from previous editions will return in the new seventh edition. These features serve to illustrate thatthe history of theatre is fir from settled, and that jus as theatre iself is alive and evolving, so is theatre history. ‘We have updated all che Debates to include recent scholarship and historical finds—for example, the revelation of Shakespeare’ family arms. As discussed in the Chapter 7 Debate, "Who Wrote Shakespeare’ Plays,” this discovery provides further evidence that William Shakespeare, a a gentleman-writer, is indeed the author ofthe plays atrbuted to his name. We have also included a new Debate {in our final chapter concerning nontraditional casting. This practice has become increasingly common, asthe recent Broadway hits Hamilton and Natasha, Pee & ‘the Great Comet of 18.2 demonstrate; but prominent theatrical person have spoken against ie, notbly the lace August Wilson Newly Designed Visual Program Photos ‘Our bold new design fentars 241 photos of both hitncal and contempt ‘roductione. These dude small sane guide productions and commercial it, Inodern dress adapratons of ancien plays, and more wediinal et hii Freducons alfa chown to demons ow the har otter Eze ino contemponty productions Theatrical Diagrams These newly designed diagrams aid students in conceptualizing complicated tage wechanics as well as theatre architecture, Uhey mele + ground plans for Greek, Roman, traditional Chinese, nd, and kabuki theatres, 235 well as more modern configutations such asthe arena and thrust tages; + stage techniques such as the Greck mechane and ekkyklema, and the Italian pole- snd-chariot systems: + depictions of an Elizabethan playhouse and 2 medieval pageant wagon. Updated Maps. Maps throughout the book have been updated. Special attention is given to thote from ancient Greece and Rome, which now include more ofthe important theatres of the era, such asthe Theatre of Epidaurus and che Theatre of Orange. Timelines. ‘The seventh edition fetuses fifteen updated timelines that chronicle ehearicl as well a cultural and political events. These timelines enable stadents to place the inajor events of theatre history in a broader context of world history. Revised Final Chapters Organization Inan attempt to make the seventh edition even more readable than previous ed sions, we have reorganized the final chapters. Instead of dividing recent theatre according ca date and location, we now approach theatre made after 1950 the- tnaticaly. As their cites indicate, Chapter 14 explores “Thestres after 1950: Traditional and Experimental while Chapter 1s focuses on "Theatres ater t9so: Multicultural and Global” Through this approach, we avoid encyclopedic lis of ewer plays and artists, and we highlight the driving forces behind con- temporary theatre—namely, the development and interaction between traditional ani experimental theatre as well the many viewpoint and backgrounds from ‘which modern theatre springs. Emphasis on Multicultural Theatre "Throughout the text, we strive to emphasize the contributions of minority groups and women in theatre. For example, the Debates in Theatte History features include such topics as "Was Terence the First Blick Playwright?” and “Are Wom en's Contibutions co Theatre History Overlooked?” We have also included new sections on underrepresented female and African American artists in Chapter 13. Most dramatically, we have organized our final chapter around multiculeral and slobal theatre, including extensive coverage of + Affican Ame + Latino/a American Theatre ican Theatre Preface xn xx Prtace + Asian American Theatre + Native American Theatee + Feminise Theatre + Gay and Lesbian Drama Instructor Resources Interactive Instructor's Guide ‘This searchable and sonable sic features hundreds of images, teaching notes, links to videos and other outside resources, and mote for in-class presentation, Test Bank The test bank includes over fifty questions for each chapter. Every question is tagged with its difficulty level, page number reference, and question cate~ gory (Understanding, Remembering, Analysing, Applying), making i easy for Lecture PewerPoints Visually engaging lecture PowerPoint slides, using the at from the book, feature classroom lecture notes that can be pariculatly helpful to first-time teachers, ‘YouTube Channel (Our digital resources row include a YouTube channel with clips of performances fom many important plays, W. W, Norton also gublishes the Norion Anthology of Drama, which reprints sixty-four plays, nearly all of which are discussed inthis cext, and which can be packaged with Living Theate at a discounted price. Contact your local Norton representative for mor: information. You can find your lacal representative by ‘visting http //books wwnorton.com/"books/find-your-rep/, Acknowledgments ‘The authors are very excited o have W. W. Norton publish the seventh edition of Living Theatre. Norton’ support of our work on this new edition has been inspiring, We want to especially thank Peter Simon (vice president and editor) and Gerra Goff associate editor) for their unwavering asistance and guidance We also want co acknowledge Chris Freitag (music editor), wha introduced uso Norton and his wonderful colleagues. Retained from eatlie editions isthe excellent material provided by Professor James V. Hatch on African American theatre. For information in the chapter on ‘Asian cheare, we are deeply indebted to Profesors J Thomas Rimer and Samuel Leiter. Much of the original biographical information was developed by Dr. Rita Prosnicki, Professor . K. Curry, Thom Thoms, Michelle Sllivan, and Dr. Susan ‘Tenneriello. For many of the African American figures, original material was ‘originally furnished by George C. Wolfe, who is now an important director and playwright and whose work is cited in our text. Dr. Ann Haugo contributed invaluable information on Native American theatre, and Angie Balsam provid sdicional information on Latin American theatre. The pronunciation guide was ‘compiled by Kur Tato, here are chrse people to whom we would especially like to express our atitude. One isInge King, who, without doubt, i the finest photo editor and researcher of anyone working inthe theatre. Tt has been our great good fortune tw have her collaborate with us for almost forty years on thirty editions of our books, including this seventh edition of Living Theave. During that time she Inc presented to 98 some 35.000 photographs from which to choose the ones we have featured in various editions. There is no way we can adequately express our sudmitation and appeeciation Aso, Alice Vighani is our new copy editor. She provided an invaluable caefel reading of our text and made important contributions to this new edition. We would aso like to thank Megan Geigner for her impeccable work ereating the new media program. [Especially chove who provided in-depth reviews We are grateful forthe imporean contributions ofall of our instructor reviews ‘over the course ofsix editions. We chank the following people for their advice and suggestions durirg development of the seventh edition of Living Theat: Simny Bickeesaft Stine Mary's University of Minnesota isa Brenner Kurzown University of Pennsylvania Kevin T. Browne Universi of Cencal Arkansas (Chiodia Case Lehman College ofthe Cty Universisy ot New York Jean Daniels Blinn College ‘Steve Barnes CCoatal Carolina University Puen M. Fel ‘University of South Floesds John Fletcher Louisiana State University "Andrew Haris Universiy of North Texas a Denton Stewart Hawley Reinhard University ©. Austin ill Tennessee Wesleyan University Lois A. Hock ‘Willington College {Cyndi Kumor Montclair State University Robert G. Levy CCltion Univesicy of Pennsylvania Heather MeMshos Stephen Rapich Elsa Sarewell Norman Schroder ‘Shannon Blake Skeleon Robert L. Smith ‘Vitor Talmadge Kellee Van Aken Maryville College Se Norbert College Belhaven Univesity Idaho State University Kansas State University Katzown University of Pennsylvania Mills College Seton Hill Univesity Vieginis Anderton Connecticut Callege Wendy R. Colemin ‘Alabama State University Alison Frox “Texas A&M University Robert I Lublin Universiey of Massachusetts Boston Elizabeth Rite Mallenix Miami University Gregory W. Lane: Universicy of Wee Florida Gaye Jlrs University of Tennetee at Chattanooga About the Authors twin (EA) Wilkor atcended Vanderbilt University, the University of Edinburgh, and Yale University, here he received ann M.B.A. and the First Doctor of Fine Arts degree awarded by Yale. He has taught theatre at Vanderbile, Yale, and, for over thirty years, at Hunter College and the Graduate Center of the City University of New York (CUNY). He i the author of several original plays as well as author of the book and lyrics fora muscal version of Grest Expectations, which was given a fully mounted pro- duction a¢ the Mill Mountain Theatre in Roanoke, Virginia, ‘Wilson has produced plays on and off Broadway and served one season as resident director of the Barter Theatre in Abingdon, Virginia. He was assistant to the producer on the Broadway play Big Fish, Litle Fish directed by John Gielgud and starving Jason Robards, and of the film Lord ofthe Flies directed by Peter Brook. On Broadway, he co- produced Agatha Sue, Love You directed by George Abbott. He also produced a feature film, The Nashville Sound. He was the moderator of Spolgh, 2 {elevision interview series on CUNY-TV and PBS, from 1989 to 1993; during that time ninety-one hal hhour incerviews with outstanding actors, actresses, playwrights, directors, and producers were broad ‘easton 200 PBS stations in the United States. For twenty-two years Wilson was the thester critic cof the Wall See Journal, A long-iime member ofthe New York Drama Critis' Circe he was president of the Circle for several yeas. He ison the board ofthe John Golden Fund and served a tem as president of the Theatre Development Fund (TDF), whose board hhe was on for twenty-three years. He has served a number of times on the Tony Awards Nominating ‘Committee and the Politzer Prise Drama Jury. He is the author or coauthor of the three most ‘widely used college theater eextbooks in the United States. The thirteenth edition of his pioncer book, The Theater Experience, was recently published, and the tenth edition of ‘Theatre: The Lively Art (coat thored with Alvin Goldfarb) will be published in 2016, Wilson is also the editor of Shaw on Shakespeare and author of the murder mystery The Patton Marder ‘Alvin Al) Goldfaris president emeritus and profes sor emeritus of theatre at Wester Illinois Universiy He also served as provost, dean, department chair, and professor of theatre during his twenty. five-year enue at Illinois State Universicy as well as mar aging director ofthe Illinois Shakespeare Festival He holds 2 Ph.D. in theatre history from the City University of New York (CUNY), a masters degree from Hunter College of CUNY, and a bachelor's degree from Queens College of CUNY, graduating Phi Beea Kappa He is coauthor of Living Theatre and Theatre: The Lively Ar, a wells coeditor (with Edwin Wilson) of The Anthology of Living Theatre. Goldfatb is also co- editor (with Rebecca Rovit) of Thestrial Perommance during the Holocaust” Texts, Decuments, Memoirs, the book was 2 finalist for che National Jewish Book ‘Award. He has published numerous artiles and reviews in scholarly journals and anthologies. Goldfarb served asa member ofthe Mlinois Arts ‘Council and the Illinois Alliance for Arts Education, He has received service awards from the latter organization as wel a from the American College Theater Festival. He also received an Alumni Achievement Award feom the City University of New York Graduate Centers Alumni Asiociation, and another Alumni Award from Hunter College of CUNY. He currently serves on the board of the Arts Alliance of Illinois and as a judge, treasaret, and executive committee member for the Joseph Jeffesion Awards Commitee, which honors the best. ‘of Chicago's theatre Living Theatre A HISTORY OF THEATRE SEVENTH EDITION 1 Theatre Its Origins and Its History ‘Why Should We Study Theatre History? In conversation we often use the phrase that's ancient history to indicate that a certain idea or object's out of Gate, And while some artifacts of our past, such as the typewriter, have become obsolete with the use of com puters and hand:beld devices for word processing, there ‘are many areas of study and human endeavors where his tory 48 not only stil relevant but also alive and well One such areao studs the ars: music, painting, nd theatre. When we attend a stage performance in the twenty-first century, we are taking part in an experience tht iecorpo- rates the past ina very real way In theatre, today and yesterdey are inextricably woven together. For example, the configurations of the stages ‘on which performances take place are all rooted in the Whether i is 2 thrust stage in which the audience is seated on thee sides of the stage or 2 picture trame ‘stage nihich the auclence faces in one direction. today’s stages cirecly reflect some era inthe past-in the West the ancient Greek theatre ofthe Renaissance theatre: Asia, the many-centuries-old theatres of China or Japan. Inasimiarfeshion the coreoflive theatrehas remained the same in Europe and the United States for wel over 2.000 years. The acting, stage arrangement, audience ‘The impulse toward Theatre Is Universal Fom arent tines, cares thoughout the word have had rituals creme, snd dances mat ncuge theses ements such es masks, Costumes, and impersonations The personas arena nly ‘ot pops but sometimes of anima sii ewe, Here we ‘Sec eagle dancers performing nara atthe San Juan Pusblo inNew Meco 4 ‘seating, scenery, and costumes have been the essence of theatre throughout its his tory. Inother wor, in any performance today the tneads ofthe past andthe present ae interwoven int the single fabric of ve theatre. “There is one further thing to say about the persistence and endurance of Ive theatre, and that is that it has withstood challenges from various electronic media throughout the twentieth century and into the twenty-first, During the past one hun red years It has been predicted that one medium after another would threaten or climinate lve theatre. Fits there was radio; then mation plctures—sllent. sound then color; followed by black and white television and then color TV, DVDs, Bkerays, and later digital devices. such as computers and hand-held devices along with streaming ‘over the Internet. Surely. it was argued, these forms of eletronleally melted enter {ainment, s0 accessible. so inexpensive, would threaten and eventually replace tive performances. Honever, contrary to these dite predictions ne theatre seems tohave ‘emerged strongerthan ever. Itmight be sate to say that inthe early twenty-first century more theatre s occur. ‘ing n more places around the world than at ary time nthe past. This's partly because {the production and enjoyment of lve performances are so widespread and take place ‘on 0 many levels. There is also more theatrical activity because of the great diversity of today’s audiencs. ‘As we sald before ll these theatre events build onthe past and incorporate ele ‘ments that have been a part of theatre for thousands of years. Studying the history of theatre, even ifit were dead and gone, would be an intresting endeavor: but as we have seen and ill explore further, the vital elements of theatre have continued through the ages and are very much with us today. When we study the Greek theatre forthe Elizabethan theatre in England, or kabuki theatre in Japan. we are studying an act form whose elements are incorporated in today’s theatre and indispensable toi ‘Another way to pu this is to say that when we stuy the theatre ofthe past we ae also studying the thea of today and vice versa ‘course there are more specific reasons why we should study theatre history. To begin with, i can help future professionals understand ther artistic heritage—what brought about the movements and forms of drama that we use today, and how they were first applied. Theatre history also presents techniques, conventions, and ideas that contemporary practitioners can borrow. We wil een our discussion of modern theatre, how often contemporary artists adapt historic conventions to create produc ‘tions that speak to ther own auciences. This i ferent from re-creating historically accurate productions another possible use of theatre history ‘Theatre historycan aso be useful for students nat interested in theatre as @ career, Iv theatre isa refection of its society, then theatre history can provide insights into societies of the past. We can learn significant information about the major fsues anc ‘concerns ofa histrieal period by studying its theatre: we can learn about the conven ‘tions and norms ofa society by analyzing its theatrical presentations. Theatre story is also an exiting and unique cisciptine worthy of study purely fr the sake of schol _arty exploration. Because theatre isan ephemeral ar its history isimmensely difcult ‘to study, but this sitfiulty leads to exciting debates and constant reevaluation. Like ‘he at form it sees to examine theatre history itsel—as we wil dscuss later inthis ‘chapter is constantly being reexamined. CHAPTERL / Theatre Theatre Is Universal ‘Trraughout the United States on any glen day, audiences attend hundreds of the- ttre events. They may enjoy an outdoor production na large open space such as the ‘Shakespeare festival ln Ashland, Oregon oF they may see an indcor production ina small theatre tke the many oftoff Broadway theatres in New York. They may see a new play atone ofthe many regional professional theatres scattered across the coun uy: or they may soe a classio—a tragedy by Shakespeare ora comedy by Moliére—at ‘one of the hundreds of college or university theatres. They may see alavsh Broadway ‘musical ora simple play st on a bare stage: they may see a formal, stylized kabuk ‘production by a visiting Japanese troupe a modern American play setin a family’s witcher, ‘The experiences audiences have at these events are almost as diverseas the events themselves, andthe works staged often comefrompast historical eras. Ayoung woman ‘sues a production of Shakespeare's Romeo ad let and is amazed at how this 400- year-old ply illustrates the problems shels having wth ner parents, who are trying to prevent her from going out with a young man from a diferent background. An older couple sees arevivalof the musical My Fair Lady filed with melodies they krow—and _2re thrilled nt only with the music but aso withthe lavish scenery and costumes, ‘Someone with agruling ob sees a farce ora family comedy and enjoys escaping from problems and stress atthe end ofthe day. A young woman who relishes puzzles and lever language sees a play by a writer ike the contemporary British dramatist Tom ‘Stoppard or the early twentieth century Italian Luigi Prandello and takes pleasure in being challenged intellectually. A young man sees production of Fences by August Wilson and is caught up inthe plight ofits young hero, whois strugting with his own \centity and with the prejudice his black family faces. Many people who identity with speci groups see plays dealing with ace, ender or polis and fel kinship withthe charactors portrayed onstage and the lvs of those characters The myriad of theatrical events and experiences open tous ar rooted inthe the- atre we have inherted—2,500 years of Western theatre, nearly 2.000 years of Asian ‘theatre and centuries of theatrical rituals in Arica and Latin America. What are these ‘many kindof theatre, and where cid they come from? These are questions that Living Theatre willaddeess. Theatre in Everyday Life ‘Before we begin our study of theatre history, we should note that cheatre has a ‘umber of frst cousins or nea relations in everyday life. Many human activities Doth personal and commun:l—have a theatrical component. Theatre historians, anthropologists, and sociologists often point to these everyday theatrical activities ‘a possible explanations for the origins of theatre, They note that, co a consider able extent, our everyday human interactions have many qualities of theatrical ‘performances and thus may offer clues to how theatre began. ‘Theate ‘chaPrER 1 Imitation, Role Playing, and Storytelling Innitaton is universal among children. A child sces an older person walking Lpstairs or opening a door and learns todo the same by imitation. Role playing is universal among young and old alike, and it too has a theatrical component. People assume family toles—fither, mothe, grandfather, sister, brother—and also social role, suchas doctor, lawyer, salesperson and social worker. In playing these roles, individuals adopt behavior required by thei sciet. Both imitation and role playing involve aspects of acting. The Greek philozopher Aristotle, whom ‘we shall discus later, suggested cha cheatre may have originated in the human Another everyday activity ith 9 theatrical clement is storytelling, ound in caltures throughout the world, Experienced storytellers are able ¢o create as pense evoke laughter of tears, and keep alive traditions of their culture. They often adopt the voices of characters in thei stores; they tke on the personalities of old men, young warriors, old women, or ghosts and other supernatural ctea- tures, At these moments, storytellers become ators or atresses not unlike those wwe se onstage. You might think of times when you have heard a story read to 2 young child and how the reader tried to make the rendition mote theatrical In societies that had not developed written language, the storyteller, known asa shaman, kepalive the histoy ofthe people, ina fashion that was highly che- eal and, again, may have led tothe development of theatre. In recent years, performance ats such as Spalding Gray, Erie Bogosian, Anna Deavere Smith, John Leguizamo, Lisa Kron, and Sarah Jones, many of whom will be discussed later in cis book, have presented one-person theatrical pieces that remind aud ences ofthe close connection between storytelling and these. ‘Ts.a child who imitates the gestures and voice patterns of older people, a ge who fills prescribed role by acting a certain way coward people appearing, in a courtroom, 2 tribal elder who relates a story to a group gathered around a

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