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Twentieth-century theatre : a sourcebook
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Twentieth-century theatre : a sourcebook

Author: Richard Drain
Publisher: London ; New York : Routledge, 1995.
Edition/Format:  Book : EnglishView all editions and formats
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Document Type: Book
All Authors / Contributors: Richard Drain
ISBN: 0415096197 9780415096195 0415096200 9780415096201
OCLC Number: 31409560
Description: xviii, 387 p. ; 25 cm.
Contents: Prologue / Andre Antoine --
From The Free Theatre (1890) --
From Of the Uselessness to Theatre of the Theatre (1896) / Alfred Jarry --
From A New Art-Material (c. 1902) / Adolphe Appia --
From How to Reform Our Staging Practices (1904) / Adolphe Appia --
From Rearrangements (1915) / Gordon Craig --
From The Futurist Synthetic Theatre (1915) / F. T. Marinetti, E. Settimelli and B. Corra --
From Futurist Scenography (1915) / Enrico Prampolini --
Speech from The First Celestial Adventure of Mr Antipyrine (1916) / Tristan Tzara --
The Secret of the Handkerchief of Clouds (1925) / Tristan Tzara --
From Prologue to The Breasts of Tiresias (1917) / Guillaume Apollinaire --
The Task of Drama (1920) / Walter Hasenclever --
From I am a Witch (1950) / Valeska Gert --
From On a New Type of Play (1920) / Stanislas Ignacy Witkiewicz --
Preface to Methusalem or The Eternal Bourgeois (1922) / Ivan Goll --
From The Painter on the Stage Progresses Towards Architecture (1922) / El Lissitzky --
From On the Pure Elements of the Actor's Art (1923) / Sergei Radlov --
From New Stage Forms (1928) / Oskar Schlemmer --
The Oberiu Theatre (1928) / Daniil Kharms --
From Plays (1935) / Gertrude Stein --
Notes on the Theatre (1953) / Eugene Ionesco --
From Events (1966) / Allan Kaprow --
From Speech Introducing Freud (1969) / Robert Wilson --
From Impossible Theatre (1972) / Tadeusz Kantor --
From Elementary School of Theatre (1986) / Tadeusz Kantor --
From Unbalancing Acts (1992) / Richard Foreman --
From Preface to Mrs Warren's Profession (1902) / Bernard Shaw --
From A Personal Statement (1926) / Sergei Eisenstein --
From The Montage of Attractions (1923) / Sergei Eisenstein --
From The Montage of Film Attractions: The Model Actor (1924) / Sergei Eisenstein --
From Post-war German Drama (1928) / Ernst Toller --
From The Reconstruction of the Theatre (1929) / Vsevolod Meyerhold --
From Basic Principles of a Theory of Sociological Drama (1929) / Erwin Piscator --
From The Documentary Play (1929) / Erwin Piscator --
'Agit-Prop' Style (1932) / Workers' Theatre Movement --
Prologue to The Exception and the Rule (1930) / Bertolt Brecht --
From Notes on the Opera Rise and Fall of the City of Mahagonny (1930) / Bertolt Brecht --
From Theatre for Pleasure or Theatre for Instruction (c. 1935) / Bertolt Brecht --
From Alienation Effects in Chinese Acting: The A-Effect (1936) / Bertolt Brecht --
The Coat (From Notebooks 1960/1977) / Athol Fugard --
From Meetings with the Theatre du Soleil (1974) / Ariane Mnouchkine --
Womanhouse --
Performances (1975) / Judy Chicago --
Aller a la mer (1977) / Helene Cixous --
Art in the Dark: A Letter to Artforum (1983) / Carolee Schneemann --
From Feminist Media Strategies for Political Performance (1985) / Suzanne Lacy and Leslie Labowitz --
From Commentary on The War Plays (1991) / Edward Bond --
Opinions / Charles Ludlam --
From One Word about the Theatre as it was, as it is, and as it will be (1905) / Gordon Craig --
Recollections (1934) / Vesta Tilley --
From The Fairground Booth (1911-12) / Vsevolod Meyerhold --
From A People's Theatre: A Letter to Lady Gregory (1919) / W. B. Yeats --
From The Variety Theatre (1913) / F. T. Marinetti --
From Open Letter to the Workers (1917) / Vladimir Mayakovsky --
From Prologue to Mystery-Bouffe (2nd version, 1922) / Vladimir Mayakovsky --
From AB: Parade of the Eccentric (1922) / Grigori Kozintsev --
Simple Advice to Participants (1925) / Blue Blouse --
From The Reconstruction of the Theatre (1929) / Vsevolod Meyerhold --
From Compulsory Theatre / Karl Valentin --
From The Popular and the Realistic (1938) / Bertolt Brecht --
The T.N.P. --
Public Service (1953) / Jean Vilar --
Response of the Road-Sweepers (1962) / Armand Gatti --
From Problems Concerning Puppetry and Folk Music and Folk Art in the Light of God and McNamara (1966) / Peter Schumann --
From Drama as a Process for Change (1976) / Dorothy Heathcote --
From Material for Significance (1980) / Dorothy Heathcote --
From Retrieving the Past, Exposing the Present (1978) / Dario Fo --
From A Good Night Out (1981) / John McGrath --
The Workshop of Popular Creation (1983-5) / Armand Gatti --
From How Welfare State's Events are Commissioned, Conceived and Carried Out (1983) / John Fox --
From Notting Hill Carnival: 'De Road is de Stage de Stage is de Road' (1986) / Kwesi Owusu --
A Remainder: Prefatory Note to A Dream Play (1902) / August Strindberg --
From How to Reform Our Staging Practices (1904) / Adolphe Appia --
Study for Movement (1906-13) / Gordon Craig --
From The Artists of the Theatre of the Future (1907) / Gordon Craig --
From The Stylised Theatre (1907) / Vsevolod Meyerhold --
From Light and the Dance (1908) / Loie Fuller --
Depth / Isadora Duncan --
From On Stage Composition (1911-12) / Wassily Kandinsky --
From Inner Impulses and Inner Action; Creative Objectives (1916-20) / Constantin Stanislavski --
From The Inspired and the Psychological Being (1918) / Paul Kornfeld --
From Stenogramme of Two Discussions between Vakhtangov and His Students (1922) / Evgeny Vakhtangov --
From Play and Theory of the Duende (1930) / Federico Garcia Lorca --
Letter to Comaedia (1932) / Antonin Artaud --
From The Theatre of Cruelty (First Manifesto) (1932) / Antonin Artaud --
From An Affective Athleticism (1935) / Antonin Artaud --
Notes on a Ritual Tragedy (1952) / Judith Malina --
Methodical Exploration (1967) / Jerzy Grotowski --
From The Knowing Body (1986) / Louise Steinman --
From Rachel's Brain (1991) / Rachel Rosenthal --
From On the Balinese Theatre (1931) / Antonin Artaud --
From Alienation Effects in Chinese Acting (1936) / Bertolt Brecht --
From Theatre and Culture (1970) / Enrique Buenaventura --
From The Emergence of a National Drama in the West Indies (1972) / Errol Hill --
Notes on Chicano Theater (1972) / Luis Valdez --
From The World as a Can Opener (1973) / Peter Brook --
From Drama and the African World View (1976) / Wole Soyinka --
Unrecovered losses/black theatre traditions (1979) / Ntozake Shange --
From Sistren: Jamaican Women's Theatre (1981) / Honor Ford-Smith --
From The Theatre of the Oppressed in Europe: Forum Theatre (1983) / Augusto Boal --
From The place of Crime, the place of Pardon (1986-7) / Helene Cixous --
Eurasian Theatre (1988) / Eugenio Barba --
The Border as Performance Laboratory (1991) / Guillermo Gomez-Pena.
Other Titles: 20th century theatre
Responsibility: edited by Richard Drain.
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schema:description"Prologue / Andre Antoine -- From The Free Theatre (1890) -- From Of the Uselessness to Theatre of the Theatre (1896) / Alfred Jarry -- From A New Art-Material (c. 1902) / Adolphe Appia -- From How to Reform Our Staging Practices (1904) / Adolphe Appia -- From Rearrangements (1915) / Gordon Craig -- From The Futurist Synthetic Theatre (1915) / F. T. Marinetti, E. Settimelli and B. Corra -- From Futurist Scenography (1915) / Enrico Prampolini -- Speech from The First Celestial Adventure of Mr Antipyrine (1916) / Tristan Tzara -- The Secret of the Handkerchief of Clouds (1925) / Tristan Tzara -- From Prologue to The Breasts of Tiresias (1917) / Guillaume Apollinaire -- The Task of Drama (1920) / Walter Hasenclever -- From I am a Witch (1950) / Valeska Gert -- From On a New Type of Play (1920) / Stanislas Ignacy Witkiewicz -- Preface to Methusalem or The Eternal Bourgeois (1922) / Ivan Goll -- From The Painter on the Stage Progresses Towards Architecture (1922) / El Lissitzky -- From On the Pure Elements of the Actor's Art (1923) / Sergei Radlov -- From New Stage Forms (1928) / Oskar Schlemmer -- The Oberiu Theatre (1928) / Daniil Kharms -- From Plays (1935) / Gertrude Stein -- Notes on the Theatre (1953) / Eugene Ionesco -- From Events (1966) / Allan Kaprow -- From Speech Introducing Freud (1969) / Robert Wilson -- From Impossible Theatre (1972) / Tadeusz Kantor -- From Elementary School of Theatre (1986) / Tadeusz Kantor -- From Unbalancing Acts (1992) / Richard Foreman -- From Preface to Mrs Warren's Profession (1902) / Bernard Shaw -- From A Personal Statement (1926) / Sergei Eisenstein -- From The Montage of Attractions (1923) / Sergei Eisenstein -- From The Montage of Film Attractions: The Model Actor (1924) / Sergei Eisenstein -- From Post-war German Drama (1928) / Ernst Toller -- From The Reconstruction of the Theatre (1929) / Vsevolod Meyerhold -- From Basic Principles of a Theory of Sociological Drama (1929) / Erwin Piscator -- From The Documentary Play (1929) / Erwin Piscator -- 'Agit-Prop' Style (1932) / Workers' Theatre Movement -- Prologue to The Exception and the Rule (1930) / Bertolt Brecht -- From Notes on the Opera Rise and Fall of the City of Mahagonny (1930) / Bertolt Brecht -- From Theatre for Pleasure or Theatre for Instruction (c. 1935) / Bertolt Brecht -- From Alienation Effects in Chinese Acting: The A-Effect (1936) / Bertolt Brecht -- The Coat (From Notebooks 1960/1977) / Athol Fugard -- From Meetings with the Theatre du Soleil (1974) / Ariane Mnouchkine -- Womanhouse -- Performances (1975) / Judy Chicago -- Aller a la mer (1977) / Helene Cixous -- Art in the Dark: A Letter to Artforum (1983) / Carolee Schneemann -- From Feminist Media Strategies for Political Performance (1985) / Suzanne Lacy and Leslie Labowitz -- From Commentary on The War Plays (1991) / Edward Bond -- Opinions / Charles Ludlam -- From One Word about the Theatre as it was, as it is, and as it will be (1905) / Gordon Craig -- Recollections (1934) / Vesta Tilley -- From The Fairground Booth (1911-12) / Vsevolod Meyerhold -- From A People's Theatre: A Letter to Lady Gregory (1919) / W. B. Yeats -- From The Variety Theatre (1913) / F. T. Marinetti -- From Open Letter to the Workers (1917) / Vladimir Mayakovsky -- From Prologue to Mystery-Bouffe (2nd version, 1922) / Vladimir Mayakovsky -- From AB: Parade of the Eccentric (1922) / Grigori Kozintsev -- Simple Advice to Participants (1925) / Blue Blouse -- From The Reconstruction of the Theatre (1929) / Vsevolod Meyerhold -- From Compulsory Theatre / Karl Valentin -- From The Popular and the Realistic (1938) / Bertolt Brecht -- The T.N.P. -- Public Service (1953) / Jean Vilar -- Response of the Road-Sweepers (1962) / Armand Gatti -- From Problems Concerning Puppetry and Folk Music and Folk Art in the Light of God and McNamara (1966) / Peter Schumann -- From Drama as a Process for Change (1976) / Dorothy Heathcote -- From Material for Significance (1980) / Dorothy Heathcote -- From Retrieving the Past, Exposing the Present (1978) / Dario Fo -- From A Good Night Out (1981) / John McGrath -- The Workshop of Popular Creation (1983-5) / Armand Gatti -- From How Welfare State's Events are Commissioned, Conceived and Carried Out (1983) / John Fox -- From Notting Hill Carnival: 'De Road is de Stage de Stage is de Road' (1986) / Kwesi Owusu -- A Remainder: Prefatory Note to A Dream Play (1902) / August Strindberg -- From How to Reform Our Staging Practices (1904) / Adolphe Appia -- Study for Movement (1906-13) / Gordon Craig -- From The Artists of the Theatre of the Future (1907) / Gordon Craig -- From The Stylised Theatre (1907) / Vsevolod Meyerhold -- From Light and the Dance (1908) / Loie Fuller -- Depth / Isadora Duncan -- From On Stage Composition (1911-12) / Wassily Kandinsky -- From Inner Impulses and Inner Action; Creative Objectives (1916-20) / Constantin Stanislavski -- From The Inspired and the Psychological Being (1918) / Paul Kornfeld -- From Stenogramme of Two Discussions between Vakhtangov and His Students (1922) / Evgeny Vakhtangov -- From Play and Theory of the Duende (1930) / Federico Garcia Lorca -- Letter to Comaedia (1932) / Antonin Artaud -- From The Theatre of Cruelty (First Manifesto) (1932) / Antonin Artaud -- From An Affective Athleticism (1935) / Antonin Artaud -- Notes on a Ritual Tragedy (1952) / Judith Malina -- Methodical Exploration (1967) / Jerzy Grotowski -- From The Knowing Body (1986) / Louise Steinman -- From Rachel's Brain (1991) / Rachel Rosenthal -- From On the Balinese Theatre (1931) / Antonin Artaud -- From Alienation Effects in Chinese Acting (1936) / Bertolt Brecht -- From Theatre and Culture (1970) / Enrique Buenaventura -- From The Emergence of a National Drama in the West Indies (1972) / Errol Hill -- Notes on Chicano Theater (1972) / Luis Valdez -- From The World as a Can Opener (1973) / Peter Brook -- From Drama and the African World View (1976) / Wole Soyinka -- Unrecovered losses/black theatre traditions (1979) / Ntozake Shange -- From Sistren: Jamaican Women's Theatre (1981) / Honor Ford-Smith -- From The Theatre of the Oppressed in Europe: Forum Theatre (1983) / Augusto Boal -- From The place of Crime, the place of Pardon (1986-7) / Helene Cixous -- Eurasian Theatre (1988) / Eugenio Barba -- The Border as Performance Laboratory (1991) / Guillermo Gomez-Pena."
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