Enjoyment of Theatre, The

<p><strong>1) Brief Table of Contents</strong></p> <p><strong>2) Full Table of Contents</strong></p> <p><strong>1) Brief Table of Contents</strong></p> <p><strong>Part I: Locating Theatre, Experiencing Plays: Theory and Criticism </strong></p> <p><strong>Chapter 1:</strong> Theatre: Performance and Art</p> <p><strong>Chapter 2:</strong> Theatre: The Performing Audience: Three Roles</p> <p><strong>Chapter 3:</strong> How to Read a Play</p> <p><strong>Chapter 4:</strong> How to See a Play</p> <p><strong>Chapter 5: </strong>Mediating the Art and Business of Theatre</p> <p><strong>Part II: Today’s Theatre and Its Makers: Theatre Practice </strong></p> <p><strong>Chapter 6:</strong> Making Theatre Today: The Context</p> <p><strong>Chapter 7: </strong>Playwrights</p> <p><strong>Chapter 8: </strong>Actors</p> <p><strong>Chapter 9: </strong>Directors</p> <p><strong>Chapter 10:</strong> Designers and Technicians</p> <p><strong>Part III: Theatre of Other Times and Places: Theatre History </strong></p> <p><strong>Part IIIA: Facade Stages (534 BCE–c. 550 CE) </strong></p> <p><strong>Chapter 11:</strong> The Theatre of Greece</p> <p><strong>Chapter 12:</strong> The Theatre of Rome</p> <p><strong>Chapter 13:</strong> Theatre in the Middle Ages</p> <p><strong>Chapter 14:</strong> The Golden Ages of England and Spain</p> <p><strong>Part IIIC: Illusionism (c. 1550–c. 1950) </strong></p> <p><strong>Chapter 15:</strong> The Italian Renaissance</p> <p><strong>Chapter 16:</strong> The Triumph and Decline of Neoclassicism</p> <p><strong>Chapter 17:</strong> Successful Failure: Theatre and Reform, c. 1750 to the 1950s</p> <p><strong>Chapter 18:</strong> The Rise and Triumph of Commercialism, c. 1750 to the 1950s</p> <p><strong>Chapter 17:</strong> Successful Failure: Theatre and Reform, c. 1750 to the 1950s</p> <p><strong>Chapter 18:</strong> The Rise and Triumph of Commercialism, c. 1750 to the 1950s</p> <p><strong>Chapter 19:</strong> Musical Theatre</p> <p><strong>Chapter 20:</strong> Eclectic Theatre, c. 1950–c. 2000</p> <p><strong>Chapter 21:</strong> US Theatre from 2000</p> <p><strong>Chapter 22:</strong> Global Theatre</p> <p> <br></p> <p> 2) Full Table of Contents</p> <p> <strong>Part I: Locating Theatre, Experiencing Plays: Theory and Criticism </strong></p> <p><strong>Chapter 1: Theatre: Performance and Art </strong></p> <p>Why Theatre</p> <p>Theatre as Performance</p> <p>Theatre as Art</p> <p>Theatre as Performing Art</p> <p>Chapter 2: Theatre: The Performing Audience: Three Roles</p> <p> Theatre as Performing Art: The Role of the Audience</p> <p>Theatre as Cultural Expression: The Role of the Audience</p> <p>Theatre as Business: The Role of the Audience</p> <p>Chapter 3: How to Read a Play</p> <p> Seeing versus Reading</p> <p>Preliminary Work</p> <p>Play Analysis Using the Parts of the Play</p> <p>Organizing a Response</p> <p>Chapter 4: How to See a Play</p> <p> Experiencing the Performance</p> <p>Preliminary Work</p> <p>Performance Analysis</p> <p>Organizing a Response</p> <p>Chapter 5: Mediating the Art and Business of Theatre</p> <p> Mediators of Theatre Art</p> <p>Mediators of Theatre Business</p> <p>Part II: Today’s Theatre and Its Makers: Theatre Practice</p> <p>Chapter 6: Making Theatre Today: The Context</p> <p> Theatre Spaces</p> <p>Theatrical Venues in the United States</p> <p>Professional Theatre</p> <p>Amateur Theatre</p> <p>Children’s Theatre</p> <p>Chapter 7: Playwrights</p> <p> The Nature of Playwrights and Playwriting</p> <p>Sources of Plays and Playwrights</p> <p>The Playwright’s Career</p> <p>Training Playwrights</p> <p>From Page to Stage: Professional Issues</p> <p>What Is Good Playwriting?</p> <p>Chapter 8: Actors</p> <p> The Nature of Acting</p> <p>Audition, Rehearsal, and Performance</p> <p>What Is Good Acting</p> <p><strong>Chapter 9: Directors</strong></p> <p>The Nature of Directing</p> <p>The Director at Work</p> <p>Training Directors</p> <p>What Is Good Directing?</p> <p>Chapter 10: Designers and Technicians</p> <p> Elements of Design</p> <p>Areas of Design</p> <p>The Process of Design</p> <p>Playscript Interpretation and Design</p> <p>Practical Considerations</p> <p>The Technical Director</p> <p>Training Designers</p> <p> What Is Good Design?</p> <p>Part III: Theatre of Other Times and Places: Theatre History</p> <p> Theatre: Present and Past</p> <p>The Sweep of Theatre History</p> <p>Part IIIA: Facade Stages (534 BCE–c. 550 CE)</p> <p>Chapter 11: The Theatre of Greece</p> <p> Context</p> <p>Theories of the Origins of Theatre</p> <p>Traits of Greek Theatre</p> <p>Plays and Playwrights</p> <p>Theatre Buildings and Practices</p> <p>The End of Athens’ Golden Age</p> <p>Chapter 12: The Theatre of Rome</p> <p> Context</p> <p>Roman Festivals and Theatre of the Republic</p> <p>The Empire and the End of the Roman Drama</p> <p>The Breakup of the Empire</p> <p>The Eastern (Byzantine) Empire and Theatre</p> <p>Part IIIB: Emblem, Environment, and Simultaneity (c. 950–c. 1650)</p> <p>Chapter 13: Theatre in the Middle Ages</p> <p> Context</p> <p>Early Medieval Drama and Theatre</p> <p>Medieval Culture and Theatre, c. 1200–1550</p> <p>The End of Medieval Religious Theatre: The Transformation of Medieval Secular Theatre</p> <p>Chapter 14: The Golden Ages of England and Spain</p> <p> Context</p> <p>The Renaissance in England: The Age of Shakespeare</p> <p>The Closing of English Theatres</p> <p>The Spanish Golden Age</p> <p>Part IIIC: Illusionism (c. 1550–c. 1950)</p> <p>Chapter 15: The Italian Renaissance</p> <p> Context</p> <p>Mainstream Theatre</p> <p>An Alternative Theatre: Commedia dell’Arte</p> <p>Italy: Eclipse</p> <p>Chapter 16: The Triumph and Decline of Neoclassicism</p> <p> French Theatre</p> <p>English Restoration Theatre and Beyond (1660–c. 1750)</p> <p>English Theatre in America</p> <p>Chapter 17: Successful Failure: Theatre and Reform, c. 1750 to the 1950s</p> <p> Context</p> <p>Three Countries, Two Experiences</p> <p>First Wave: Romanticism, 1750–1850</p> <p>Second Wave: Realism, 1850–1950</p> <p>Realism and Naturalism: Three Important Leaders</p> <p>Third Wave: Avant-Gardism, 1890–1950</p> <p>Avant-Garde Theatres and Movements</p> <p>Chapter 18: The Rise and Triumph of Commercialism, c. 1750 to the 1950s</p> <p> Context</p> <p>Commercial Theatre</p> <p>Drama in the Commercial Theatre</p> <p>Chapter 17: Successful Failure: Theatre and Reform, c. 1750 to the 1950s</p> <p> Context</p> <p>Three Countries, Two Experiences</p> <p>First Wave: Romanticism, 1750–1850</p> <p>Second Wave: Realism, 1850–1950</p> <p>Realism and Naturalism: Three Important Leaders</p> <p>Third Wave: Avant-Gardism, 1890–1950</p> <p>Avant-Garde Theatres and Movements</p> <p>Chapter 18: The Rise and Triumph of Commercialism, c. 1750 to the 1950s</p> <p> Context</p> <p>Commercial Theatre</p> <p>Drama in the Commercial Theatre</p> <p>Theatres and Production Practices</p> <p>The Decline of Commercial Theatre</p> <p>Responses to Commercial Theatre</p> <p>Chapter 19: Musical Theatre</p> <p> Context</p> <p>The American Musical Emerges</p> <p>Song Forms</p> <p>Musicals since 1950</p> <p>Chapter 20: Eclectic Theatre, c. 1950–c. 2000</p> <p> Context</p> <p>Avant-Garde Theatre</p> <p>Professional Theatre</p> <p>The Decline and Cultural Displacement of Theatre</p> <p>Chapter 21: US Theatre from 2000</p> <p> Context</p> <p>Theatrical Changes</p> <p>Commercial and Not-for-Profit Theatre</p> <p>Theatrical Trends in the New Millennium</p> <p>The Long View</p> <p>Chapter 22: Global Theatre</p> <p> Context</p> <p>The East</p> <p>The Islamic World</p> <p>Sub-Saharan Africa</p>