368 pages, 9.21 × 6.14 × 0.79 in
January 1, 1999
Oxford University Press
The following ISBNs are associated with this title:
ISBN - 10: 0198711395
ISBN - 13: 9780198711391
Table of Contents
Part I: Introduction
Richard Wagner: The Work of Art of the Future
Georges Polti: The Thirty-Six Dramatic Situations
Ferdinand Brunetiere: The Law of the Drama
Henri Bergson: The Comic in Situations
Eric Bentley: Melodrama
Jean-Paul Sartre: For a Theatre of Situations
Friedrich Durrenmatt: Theatre Problems
Howard Barker: Theatre Without a Conscience
Victor Turner: Are There Universals of Performance in Myth, Ritual, and Drama?
Part II: Varieties of Realism
Friedrich Hebbel: The Relationship of Dramatic Art to its Age and Allied Matters
Emile Zola: Naturalism
August Strindberg: Author's Preface to `Miss Julie'
George Bernard Shaw: Against the Well-Made Play
Arthur Miller: `Death of a Salesman': A Modern Tragedy?
Part III: Anti-Naturalism
Maurice Maeterlinck: The Tragical in Daily Life
William Butler Yeats: The Theatre
William Butler Yeats: Certain Nobel Plays of Japan
Vsevolod Emilievich Meyerhold: On the Theatre: The Fairground Booth
Edward Gordon Craig: The Art of the Theatre: The First Dialogue
Adolphe Appia: Organic Unity
Eugene O'Neill: Memoranda on Masks
Eugene O'Neill: A Dramatist's Notebook
August Strindberg: Author's Note to `A Dream Play'
Alfred Jarry: On the Futility of the `Theatrical' in the Theatre
Guillaume Apollinaire: Preface and Prologue to `The Breasts of Tiresias'
Yvan Goll: Preface to Die Unsterblichen (`The Immortals')
Yvan Goll: Preface to `Methusalem, The Eternal Bourgeois'
Filippo Tommaso Marinetti, with Emilio Settimell
From the Publisher
Modern Theories of Drama concentrates on the developments in dramatic theory over the last 150 years, providing a crucial resource for students of drama and theatre studies. From Aristotle's Poetics onwards, drama - especially 'serious' drama - has been encased in a framework of theory,
although the more popular forms of theatre have often chosen to ignore this. However, from the eighteenth century until the present day, theoretical questioning of the 'rules' (Aristotelian and other) has constantly grown in scope and strength. This attack was to become more and more vigorous in the
second half of the nineteenth century and reach gale force in the twentieth. Different audience profiles and new performance venues; innovative methods of presentation; a changing sense of the purposes of drama and of its philosophical content, have resulted in the striking instability of theory
which confronts us today. Quite new concepts have arisen in this century, seemingly outdated ones have been resurrected.
About the Author
George W. Brandt is at University of Bristol.
.,."[a] valuable compendium of writing on theatre from 1840 to 1990."--Times Literary Supplement