Preface: Interpreting Performances and Cultures Part 1: Introduction: Performance and Theatre in Oral and Written Cultures before 1600 1. Oral, Ritual, and Shamanic Performance 2. Religious and Civic Festivals: Early Drama and Theatre in Context 3. Imperial Theatre: Pleasure, Power, and Aesthetics Part 2: Introduction: Theatre and Print Cultures, 1500-1900 4. Theatre and the State, 1600-1900 5. Theatres for Knowledge through Feeling, 1700- 1900 6. Theatre, Nation, and Empire, 1750-1900 Part 3: Introduction: Theatre in Modern Media Cultures, 1850-1970 7. Theatres of Popular Entertainment, 1850-1970 8. Theatre of the Avant-Garde and their Legacy, 1880-1970 9. Theatres for Reform and Revolution, 1880-1990 Part 4: Introduction: Theatre and Performance in the Age of Global Communications, 1950- 2005 10. Rich and Poor Theatres of Globalization 11. Director, Text, and Performance in the Postmodern World 12. Interculturalism, Hybridity, Tourism—the Performing World on New Terms Index
Phillip B. Zarrilli is Professor of Performance Practice in the
Department of Drama at the University of Exeter.
Bruce McConachie is Director of Graduate Studies in Theatre and
Performance Studies at the University of Pittsburgh.
Gary Jay Williams is Professor Emeritus, Department of Drama, The
Catholic University of America in Washington, D. C., where he
taught in theatre history, theory, and Shakespeare in performance
for 29 years.
Carol Fisher Sorgenfrei Carol Fisher Sorgenfrei is Professor of
Theater at UCLA.
'This compelling narrative demonstrates how performance is woven into the bedrock of human history ... The global reach ... offers tantalizing comparisons between different eras. What emerges is a sense of cultural independence that belies any notions of social Darwinism. The authors resist any positivistic readings of theatre history, instead equipping the reader with a range of critical tools. Each chapter is accompanied by case studies and different interpretive responses. Such variety introduces the student to the basics of critical theory and refuses to allow the reader easy answers.' – Jeremy Piper, artistic director, Challoner Theatre Company, in Times Higher Education Supplement 'By looking at theatre and performance from a global perspective and utilizing a range of critical methodologies, the authors have provided a work that more than any other currently available suggests the range and richness of theatre and performance history study today.' – Marvin Carlson, City University of New York 'Theatre Histories has finally achieved a new synthesis of performance studies and traditional theatre history, inflected with methodological insights from cultural studies and critical theory, that provides an appropriate pedagogy for the twenty-first century ... This book will significantly change theatre education. ' – Janelle Reinelt, University of California, Irvine 'Finally we have a book that conceives theatre history in world terms and breaks down the Euro-American boundaries that have marginalised the theatres of other cultures for so long.' – Brian Singleton, The University of Dublin, Trinity College 'A refreshing alternative to traditional undergraduate texts.' – Judith Milhous, City University of New York 'This book is perhaps the firs
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