Theatre Histories An Introduction

Transcription

1 Theatre Histories An Introduction Second Edition Phillip B. Zarrilli, Bruce McConachie, Gary Jay Williams, and Carol Fisher Sorgenfrei General Editor: Gary Jay Williams R Routledge Taylor &. Francis Group NEW YORK AND LONDON

2 Content s Ab out the auth ors Acknowledgments Preface: Interpreting performances and cu ltu res A first m apping: About this bo ok in its second edition A second mapping: Theatre in relation to key developments in human communication A third mapping: Cultural performances, theatre, and drama A fourth mapping: About historiography A caveat on using resources on the World Wide Web Additional support for this book online Diacritics, spellings, names, and a final note on authorship xiii x v xvii xvii xix xx xxii xxv xxv xxv PART I Performance and theatre in oral and writing cultures before Edited by byph I l i I P».Z A R R i I l i Timeline for Part I 2 Introduction: Speech, writing, and performance 3 The evolution o f human language and consciousness 4 Human language, writing, and society 8 Performance, communication, and remembrance 13 v

3 1 Or al, ritu al, and shamanic performanc e 15 Primary orality 16 Oral performance 17 Oral texts and their transmission under the written sign: Vedic chanting in India 21 Ritual specialists: Accessing sacred power 22 Late Neolithic ritual landscapes and pilgrimage in England 24 Early Celtic oral and ritual festival performance 26 Interpreting and understanding ritual 29 Ritual, ceremony, and collective social life 32 Healing powers of ritual/shamanic specialists 37 Summary 38 Yoruba ritual as "play," and "contingency" in the ritual process 40 Interpretive approach Theories of play and improvisation 42 Korean shamanism and the power of speech 45 Interpretive approach Speech act theory 49 2 Religious and civic festivals: Early d rama and theatre in context 52 C ommemorative ritual drama in Abydos, Egypt 53 Dialogic drama in the city-state of Athens 58 Mesoamerican performance 65 Texts in other traditions 70 Medieval Christian liturgy and drama 71 Islamic commemorative mourning dramas : The Ta ziyeh of Iran and beyond 80 Summary 85 Classical Greek theatre: Looking at Oedipus 88 Interpretive approach Cognitive spatial relations 94 Christians and Moors: Medieval performance in Spain and the New World 96 Interpretive approach Cultural hierarchy 99 3 Early theatre in court, tem ple, and marketplace: Pleasu re, power, and aesthetics 103 Drama, theatre, and performance in the Roman Republic and Empire 104 Indian literary and commemorative drama and theatre 110 VI

4 Early C hinese and Japanese drama, theatre, and perform ance 118 Summary 123 Plautus's plays: What's so funny? 126 Interpretive approach Part I Henri Bergsons theo ry of laug hter 128 Interpretive approach Part II Bergsons theory in historical perspective 131 Kutiyattam Sanskrit theatre of India: Rasa-bhäva aesthetic theory and the question of taste 133 Interpretive approach Reception th eory 135 Kathakali dance-drama: Divine "play" and human suffering o n stage 143 Interpretive approach Ethnography and history 143 The silent bell: The Japanese no play, Döjöji 157 Interpretive approach Feminist and gender theory, modified for medieval Japan 158 PART II Theatre and performance in print c ultu res, Edited by B R U C E Mc C o n a c h i e Timeline for Part II 170 Introduction: China and Western Europe 171 The rise of European professional theatres 173 Institutionalizing drama in Europe 175 Golden Age theatre in Spain, public and court, Neoclassicism and print in Europe 182 Le C id and French absolutism 184 Scenic perspective in print and on stage 185 Baroque entertainments at court 190 From outdoor festivals to indoor pomp ]92 Coming attractions Theat re and t he stat e, I 99 Theatre and the state in France, From patronage to control in France, Samurai warriors versus kabuki actors, Regulating kabuki, Theatre and the state in England, Patents, censorship, and social order in England, Theatre and the state in England and France, vii

5 Molière and carnival laughter Interpretive approach Mikhail M. B akhtins concept o f the carnivalesque Kabuki and bunraku: Mimesis and the hybrid body Interpretive approach Mimesis, hybridity, and the body Sexuality in Shakespeare's Twelfth Night Interpretive approach Queer theory 5 Theatres for kn owled ge through feeling, Sentimental drama in England Sentiment on the continent Acting in the eighteenth century Theorizing acting Performers and the public Changes and challenges in sentimentalism The French Revolution and melodrama Melodramatic spectacle Melodrama gains audiences Dramatists claim authority Theatre iconotogy and the actor as icon: David Garrick Interpretive approach Cultural studies and theatre iconology Theatre and cultural hegemony: Comparing popular melodramas Interpretive approach Cultural hegemony 211 2I Theatre, nation, and empire, Print, theatre, and nationalism Romanticism and the theatre Romanticism, history, and nationalism Nationalistic stars Imperialism and Orientalism in the theatre Imperialism and nationalism on the Russian stage Settler colonialism and racism in the theatre of the United States Theatre riots Friedrich Schiller's vision of aesthetic education and the German dream of a national theatre Interpretive approach Studies in theatre and national/cultural identity The Playboy riots: Nationalism in the Irish theatre Interpretive approach Cognitive linguistics

6 C O NTENTS part II Theatre and performance in modern media cultures, Edited by B R UCE Mc C o n a c h i e Timeline for Part III 300 Introduction: Historical changes after Photography and audiophony in the theatre 302 Spectacular bodies on the popular stage 304 T he rise o f realism in the West 309 Realist producer-directors 311 T he rise o f realism in Japan 315 T heatre and politics in Europe and the U.S. 316 T he emergence of avant-garde theatre 319 M odernism in the theatre 321 T he Great War as a turning point in world theatre 322 O verview o f Chapters Popular entertainments, The circus as popular culture 327 Prom oting popular entertainm ent 330 Variety theatre 331 English music hall 332 Theatrical revues 334 Popular melodrama and com edy 334 Musical theatre 335 W orld fairs and exhibitions 337 Case stu d ie s "Blacking up" on the U.S. stage 341 Interpretive approach R eification and utopia in popular culture 341 British pantomime: How "bad " theatre remains popular 347 Interpretive approach Phenom enology and history Theatres of the avant-garde, Naturalism on stage 356 Symbolism and aestheticism 358 Futurists and dadaists G erm an expressionism 362 Film and the avant-garde 364 M eyerhold and constructivism 365 Surrealism and A rtaud 367 IX

7 A United States avant-garde?.368 Institutionalizing the avant-garde 369 The end of the first-wave avant-garde 371 Psychological and sociological training for the actor 373 Interpretive approach Conceptual integration 375 Discoursing on desire; Desire Under the Elms in the 1920s 381 Interpretive approach Discourse theory Modernism in drama and performance, Early modernism in Ibsen and Chekhov 389 High modernism after High modernists Yeats and Pirandello 392 High modernism and religion 394 Beckett and the end of high modernism 395 Theatricalizing modernism after Modernist Shakespeare in England 398 Lyrical abstraction in France 401 Psychological realism in the United States 402 Modernist theory and criticism after Theatrical modernism in Japan 406 Ibsen's A Doll House: If Nora were a material girl 408 Interpretive approach Cultural materialism 408 Modernism in Chekhov, Pirandello, and Beckett Th eatres for refo rm and revolution, Theatricalizing the Russian Revolution 425 The influence of the Revolution in the West 426 Theatres of anti-imperialism, Postwar theatre in Japan and Germany 430 New national theatres in Europe 432 Theatre and the cold war 434 Other models of political theatre and its consequences 439

8 Social drama in Kerala, India: Staging the "revolution" 442 Interpretive approach Politics, ideology, history, and performance 443 Brecht directs Mother Courage 450 Interpretive approach Semiotics 452 p a r t IV Theatre and performance in the age of global communications, Edited by GARY JAY WILLIAMS Tim eline for Part IV 458 In tro d u ction: Colonialism, g lo b a liza tio n, media, and t h eatre 459 Media and theatre: All in the family 462 Niche programming in media and theatre: All the families 464 Globalization, media, theatre, and performance 468 The media: Power and resistance 470 Theatre, performance, resistance 472 Performance art 473 Theatre in postcolonial African nations 474 Theatre and media in a globalizing China 477 Summary Rich and poo r theatres o f globalization 482 National theatres in the international marketplace 482 International festivals 485 Mega-musicals 488 Radical theatre in the West after Post-1968 radical theatre in developing nations 491 Theatres for development 493 Nuevo Teatro Popular 493 Community-b ased theatre since The vortex of Times Square 498 Interpretive approach Vortices of behavior 500 Athol Fugard: Theatre of witnessing in South Africa 505 Interpretive approach Social justice and the artist 508 xi

9 12 Director, text, acto r, and performance in the postmodern world Aristotle to postmodernism: Texts and contexts Director and text in Antonin Artauds theatre of cruelty" The holy actor as text in Jerzy Grotowski s poor theatre" Peter Brooks Shakespeare and contemporary' authenticity Terayama Shüjis disquieting critique of theatrical convention Suzuki Tadashi s Euripides French negotiations with the classics: Roger Planchon s Molière The United States: The Performance Group, La Mama, and The Wooster Group Theatre of images: Robert Wilson and others The crisis of representation and the authenticity of performance Antonin Artaud and jacques Derrida Interpretive approach Deconstruction Global Shakespeare Interpretive approach Postcolonial criticism sr Interculturalism, hyb ridity, tourism: The performing world on new terms Globalization and cross-cultural negotiations in theatre Historical cross-cultural conversations Intercultural theatre Intracultural theatre Syncretism and hybridity Tourism and performance Whose Mahabharata is it, anyway? The ethics and aesthetics of intercultural performance Interpretive approach The historian between two views of intercultural performance Imagining contemporary China: Gao Xingjian's Wild Man in post-cultural Revolution China Interpretive approach Theories of national identity Backstage/frontstage: Ethnic tourist performances and identity in "America's Little Switzerland" Interpretive approach Sociological theories of tourism and everyday performance S2 Glossary Index x i