ISBN13:978-1413017670 ISBN10: 1413017673 This edition has also been released as: ISBN13: 978-1413028775 ISBN10: 1413028772
Summary: Known through four editions as the boldest and most distinguished introduction to drama, William Worthen's pace-setting text continues to provide exciting plays usefully situated within their historical and cultural contexts. In its fifth edition, THE WADSWORTH ANTHOLOGY OF DRAMA broadens its scope to offer even more plays than ever before.
NEW! Author W. B. Worthen's selection ...show moreof plays now includes topical and provocative plays like Minna Canth's Anna-Liisa, Jean Genet's The Balcony, Sarah Cane's Blasted, David Hare's Stuff Happens; and classroom favorites like August Strindberg's Miss Julie, Oscar Wilde's The Importance of Being Earnest, Luis Valdez's Zoot Suit, and Nobel Laureate Athol Fugard's "Master Harold"...and the boys.
Over 70 photos and illustrations: Including the new "Reading the Material Theater" exercises in each unit, over 70 photos and illustrations throughout the book help students visualize the plays they read within their historical and cultural context.
NEW! The Wadsworth Anthology of Drama is the only introductory textbook to include the complete Orestia, providing students better access to Aeschylus and enabling them to better differentiate the playwrights of Classical Athens.
NEW! More new plays in the chapter on world theater: Louis Nowra's The Golden Age, Vaclev Havel's Temptation and Vassily Sigrev's Black Milk have been added to offer extensive choices and flexibility for exposing students to plays from other cultures and traditions.
NEW! Expanded coverage of modern European theater, including new works by women playwrights, Minna Canth and Sarah Kane, is now included.
NEW! A study of "adaptation" pairing Susan Glaspell's Trifles and "A Jury of Her Peers."
The most comprehensive coverage of World theater, American theater, and Modern European theater, THE WADSWORTH ANTHOLOGY OF DRAMA continues to provide the boldest, most diverse, and most distinctive introduction to drama available.
The widest representation of plays by women: Including not only plays by contemporary women, Anna Deavere Smith and Suzan-Lori Parks, for example, THE WADSWORTH ANTHOLOGY OF DRAMA also now includes Minna Canth's thriller, Anna-Liisa in the chapter on Modern Europe.
Distinctive features for putting drama in context: The first introduction to drama to situate plays within their geographical and historical context, THE WADSWORTH ANTHOLOGY OF DRAMA continues to help introductory students make sense of drama in a variety of ways with these useful and engaging features: in depth discussions of literary and cultural history, "Aside" boxes in every chapter that focus on particular contexts, thorough, student-friendly introductions to every play, and biographical headnotes about every author.
"Reading the Material Theater" visual exercises: In every chapter, these unique visual exercises help deepen students' understanding of theater history by inviting them to consider how artifacts from the time relate to the plays in the chapter and the periods in which they were written.
Edition/Copyright:5TH 07 Cover: Paperback Publisher:Wadsworth, Inc Published: 01/13/2006 International: No
View Table of Contents
Introduction: Drama, Theater, and Culture. Reading Drama and Seeing Theater. Drama and Theater in History. Dramatic Genres. Dramatic Form. The Stage in Critical Practice. Reading the Material Theatre.
1. CLASSICAL ATHENS.
Aside: Roman Drama and Theater. Reading the Material Theater: Pronomos Painter. Aeschylus, The Orestia. Sophocles, Oedipus the King. Euripides, Medea. Aristophanes, Lysistrata. Critical Contexts: Aristotle, from The Poetics. Critical Perspectives: Sue-Ellen Case, from Classic Drag: the Greek Creation of Female Parts.
2. CLASSICAL JAPAN.
Aside: Sanskrit Drama and Theater. Reading the Material Theater: A Portrait of Seki Sanjuro II. Kan'ami Kiyotsugu, Matsukaze. Nakamura Matagoro II and James R. Brandon, adaptors, Chushingura: The Forty-Seven Samurai. Critical Contexts: Zeami Motokiyo, from A Mirror Held to the Flower. Critical Perspectives: Graham Ley, Aristotle's Poetics, Bharatamuni's Natyasastra, and Zeami's Treatises: Theory as Discourse.
3. MEDIEVAL AND RENAISSANCE ENGLAND.
Aside: The Jacobean Court Masque. Reading the Material Theater: Titus Andronicus title page. Anonymous, The Wakefield Second Shepherds' Pageant. Anonymous, Everyman. Christopher Marlowe, Doctor Faustus. William Shakespeare, Hamlet. William Shakespeare, The Tempest. Critical Contexts: Sir Philip Sidney, from Apology for Poetry. Critical Perspectives: Phyllis Rackin, Misogyny is Everywhere.
4. EARLY MODERN EUROPE.
Aside: Commedia Dell' Arte. Reading the Material Theater: Betterton's acting style. Pedro Calderón de la Barca, Life Is a Dream. Moliére, Tartuffe. Jean Racine, Phaedra. Aphra Behn, The Rover. Sor Juana Inés de la Cruz, Loa to The Divine Narcissus. Critical Contexts: John Dryden, Preface to Troilus and Cressida, Containing the Grounds of Criticism in Tragedy. Critical Perspectives: Katharine Eisaman Maus, from 'Playhouse Flesh and Blood': Sexual Ideology and the Restoration Actress.
5. MODERN EUROPE.
Aside: Melodrama. Reading the Material Theater: Ibsen's Notes for the Modern Tragedy. Henrik Ibsen, A Doll's House. August Strindberg, Miss Julie. Oscar Wilde, The Importance of being Earnest. Anton Chekhov, The Cherry Orchard. Bernard Shaw, Major Barbara. Luigi Pirandello, Six Characters In Search of an Author. Bertolt Brecht, Mother Courage and Her Children. Jean Genet, The Balcony. Samuel Beckett, Endgame. Harold Pinter, The Homecoming. Heiner Müller, Hamletmachine. Caryl Churchill, Cloud Nine. Sarah Kane, Blasted. David Hare, Stuff Happens. Critical Contexts: Friedrich Nietzsche, from The Birth of Tragedy. Émile Zola, from Naturalism in the Theatre. Constantin Stanislavski, from "Direction and Acting". Bertolt Brecht, "Theatre for Pleasure or Theatre for Instruction". Antonin Artaud, from The Theater and Its Double. Augusto Boal, from Theater of the Oppressed. Critical Perspectives: Martin Esslin, from The Theatre of the Absurd. Fredric Jameson, from "Postmodernism and Consumer Society". Una Chaudhuri, from Staging Place: The Geography of Modern Drama.
6. THE UNITED STATES.
Aside: The Federal Theater Project. Aside: Performance Art. Reading the Material Theater: "A Jury of Her Peers," by Susan Glaspell. Dion Boucicault, The Octoroon. Susan Glaspell, Trifles. Eugene O'Neill, The Hairy Ape. Tennessee Williams, The Glass Menagerie. Arthur Miller, Death of a Salesman. Amiri Baraka/LeRoi Jones, Dutchman. Luis Valdez, Zoot Suit. Sam Shepard, True West. August Wilson, Fences. David Henry Hwang, M. Butterfly. Tony Kushner, Angels in America, Part 1: Milennium Approaches. Anna Deavere Smith, Fires In the Mirror: Crown Heights, Brooklyn, and Other Identities. Suzan-Lori Parks, Topdog/Underdog. Critical Contexts: Arthur Miller, Tragedy and the Common Man. Amiri Baraka/LeRoi Jones, "The Revolutionary Theatre". Critical perspectives: August Wilson, The Ground on Which I Stand. Robert Brustein, Subsidized Separatism.
7. WORLD STAGES.
Aside: Intercultural Performance. Reading the Material Theater: Program Notes for Translations. Aimé Césaire, A Tempest. Griselda Gambaro, Information for Foreigners. Wole Soyinka, Death and the King's Horseman. Brian Friel, Translations. Athol Fugard, "Master Harold"...and the boys. Louis Nowra, The Golden Age. Gao Xingjian, The Other Shore. Vaclev Havel, Temptation. Tomson Highway, Dry Lips Oughta Move to Kapuskasing. Manjula Padmanabhan, Harvest. Vassily Sigarev, Black Milk. Critical Contexts: Frantz Fanon, from "The Fact of Blackness Critical Perspectives: Helen Gilbert and Joanne Tompkins, from Post-Colonial Drama.
Glossary. List of Illustrations and Photographs. Index.
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