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The Drama Handbook
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Table of Contents

Introduction I. Performance, notation, text 1: Performance: process and the ephemeral 2: Notation: documentation, layout, and the preserved 3: Text I: editing and reception 4: Text II: the process of reading II. Reading Structures 5: What is genre? 6: Classical genres: tragedy, comedy, satyr-playes, epic 7: Religious genres: the liturgy, Mysteries, Moralities 8: Renaissance genres: Commedia dell'arte, tragicomedy, masque, opera 9: Eighteenth- and nineteenth-century genres: burlesque, sentimental & gothic drama, pantomime, melodrama, music-hall, farce, well-made plays 10: Social genres: political theatre, agit-prop, documentary and epic drama 11: The impact of technology: light, sound, radio- & television-plays, film-genres III. Defining architectures 12: The study 13: Rehearsal and administrative space 14: The stage and auditorium 15: The scriptorium, printshop, publishing house, bookshop, and library IV. Personnel in process 16: Playwrights 17: Directors 18: Actors 19: Dramaturgs and literary managers 20: Designers 21: Production staff, stage-crew, and front-of-house 22: Censors 23: Audiences 24: Critics 25: Editors 26: Teachers and readers V. Theatre today 27: The playtext since the 1950s 28: Challenges to the playtext 29: Alternatives to the playtext VI. Exam conditions 30: Practical criticism 31: Period and special papers 32: Sample answers Glossary Index of persons Index of plays Bibliography and further reading

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About the Author

John Lennard teaches at the Universities of Cambridge and Notre Dame, and for the British American Drama Academy in London. He is the author of 'But I Digress' (1991), the best-selling 'The Poetry Handbook' (1996), and an on-line guide, 'Reading Contemporary Poetry' (2001). Mary Luckhurst is Lecturer in Modern Drama at the University of York. She is an award-winning playwright, and has worked as a director. She has edited 'The Creative Writing Handbook', 'On Directing' (2001), and 'On Acting' (forthcoming 2002) for Faber and Faber.

Reviews

Could be read with profit and pleasure by any theatregoer. Steven Poole, The Guardian A good basic introduction for first year students to problems of reading plays as performance texts, i.e. reading theatrically. Professor R. A. Cave, Royal Holloway

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