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Books on the topic 'North-american theatre'

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Published: 4 June 2021
Last updated: 19 June 2025

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1

J, Watermeier Daniel, ed. The history of the North American theater: The United States, Canada, and Mexico : from pre-Columbian times to the present. Continuum, 2000.

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2

Chicago, University of, ed. Twentieth century North American drama. Alexander Street Press, 2005.

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3

J, Watermeier Daniel, ed. The history of North American theater: From pre-Columbian times to the present. Continuum, 1998.

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4

McMillan, Felecia Piggott. The North Carolina Black Repertory Company: 25 marvtastic years. Open Hand Pub., 2005.

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5

Londré, Felicia Hardison. The history of North American theater: The United States, Canada, and Mexico : from pre-Columbian times to the present. Continuum, 1998.

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6

Michael, Lomatuway'ma, ed. Children of cottonwood: Piety and ceremonialism in Hopi Indian puppetry. University of Nebraska Press, 1987.

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7

Office, General Accounting. Financial management: Theater Missile Defense Cooperation account. The Office, 1995.

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8

Al, Momaday, ed. The way to rainy mountain. University of Arizona Press, 1996.

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9

Orenstein, Claudia, and James Peck, eds. The Great North American Stage Directors. Bloomsbury Publishing Plc, 2022. http://dx.doi.org/10.5040/9781350045521.

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This volume focuses on three artists who embrace media and technology as essential elements of their theatrical expression: Elizabeth LeCompte, Ping Chong, and Robert Lepage. Diverse in their aesthetic interests, they nevertheless share an approach to directing that includes technological media on stage as central to a rigorously crafted production concept. Technological elements live alongside and negotiate with the theatre’s human players, disclosing, shaping, and even intruding on the dramas they enact. The essays in this volume explore how all three directors have provided decisive responses to a question that has dogged the theatre for at least the last century: what relationship can theatre, an art form grounded in live, ephemeral, expression, have to technology? The Great North American Stage Directors series provides an authoritative account of the art of directing in North America by examining the work of twenty-four major practitioners from the late 19th century to the present. Each of the eight volumes examines three directors and offers an overview of their practices, theoretical ideas, and contributions to modern theatre. The studies chart the life and work of each director, placing his or her achievement in the context of other important theatre practitioners and broader social history. Written by a team of leading experts, the series presents the genealogy of directing in North America while simultaneously chronicling crucial trends and championing contemporary interpretation.
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10

Peck, James, ed. The Great North American Stage Directors. Bloomsbury Publishing Plc, 2022. http://dx.doi.org/10.5040/9781350045606.

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The three directors gathered in this volume all approach theatre-making in part as an act of citizenship. Jesusa Rodríguez, Peter Sellars, and Reza Abdoh differ markedly in many important respects, but they all come to the theatre as an intervention in the public sphere. Rodríguez, Sellars, and Abdoh blend a spirit of social critique with acts of democratic community building. These essays examine how theatre, for them, is not a sphere of aesthetic experience insulated from the divisions, antagonisms, and alliances of a conflicted society. It is a way to forge fleeting but consequential communities that might reverberate through that society and affect its future development. The Great North American Stage Directors series provides an authoritative account of the art of directing in North America by examining the work of twenty-four major practitioners from the late 19th century to the present. Each of the eight volumes examines three directors and offers an overview of their practices, theoretical ideas, and contributions to modern theatre. The studies chart the life and work of each director, placing his or her achievement in the context of other important theatre practitioners and broader social history. Written by a team of leading experts, the series presents the genealogy of directing in North America while simultaneously chronicling crucial trends and championing contemporary interpretation.
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11

Herrington, Joan, ed. The Great North American Stage Directors. Bloomsbury Publishing Plc, 2022. http://dx.doi.org/10.5040/9781350045347.

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Richard Schechner, Lee Breuer, and Anne Bogart share a spirit of profound adventure and that adventure is the redefinition of theatre itself. They are rare hybrids; the confluence of their theatrical roles as directors, scholars, theorists and teachers has placed them among the most influential thinker/practitioners of their generation. This book reveals the ways in which their consistent inquiry enabled them to re-examine, re-frame, and re-invent their own practice. The essays in this volume explore the ways in which Schechner, Breuer and Bogart have established powerful legacies of consistently innovative theatre most often created in the company of an ensemble of collaborative artists. Their influence is undeniable in the reformulation of theatre practices from the 1970s onward. The Great North American Stage Directors series provides an authoritative account of the art of directing in North America by examining the work of twenty-four major practitioners from the late 19th century to the present. Each of the eight volumes examines three directors and offers an overview of their practices, theoretical ideas, and contributions to modern theatre. The studies chart the life and work of each director, placing his or her achievement in the context of other important theatre practitioners and broader social history. Written by a team of leading experts, the series presents the genealogy of directing in North America while simultaneously chronicling crucial trends and championing contemporary interpretation.
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12

Young, Harvey, ed. The Great North American Stage Directors. Bloomsbury Publishing Plc, 2021. http://dx.doi.org/10.5040/9781350045187.

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This volume chronicles the lives and artistry of Elia Kazan, Jerome Robbins, and Lloyd Richards. Their commitment to staging new works, which often focused on the experiences of immigrant and working-class families, significantly expanded the scope and possibilities of American theatre across the 20th century. It illuminates too their collaborations with a range of innovative theatre artists, including Lee Strasberg, Clifford Odets, Marlon Brando, Arthur Miller, Tennessee Williams, Lorraine Hansberry, Leonard Bernstein, Stephen Sondheim, and August Wilson. The Great North American Stage Directors series provides an authoritative account of the art of directing in North America by examining the work oftwenty-four major practitioners from the late 19th century to the present. Each of the eight volumes examines three directors and offers an overview of their practices, theoretical ideas, and contributions to modern theatre. The studies chart the life and work of each director, placing his or her achievement in the context of other important theatre practitioners and broader social history. Written by a team of leading experts, the series presents the genealogy of directing in North America while simultaneously chronicling crucial trends and championing contemporary interpretation.
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13

Black, Cheryl, ed. The Great North American Stage Directors. Bloomsbury Publishing Plc, 2021. http://dx.doi.org/10.5040/9781350045149.

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This volume assesses the contributions of David Belasco, Arthur Hopkins, and Margaret Webster, whose careers shaped the artistic and specialist identity of the Broadway director. Their work spans almost a century and captures the rapidly changing social and cultural landscape of 20th-century America. While their aesthetic styles differed greatly, they were united in their mastery of theatre craft and their impact on theatrical collaboration. The essays in this volume explore how these directors established and exploited Broadway as the epicentre of theatre in the United States, blended the role of producer and director, and managed the tensions between commercial success and artistic ambition. The Great North American Stage Directors series provides an authoritative account of the art of directing in North America by examining the work of twenty-four major practitioners from the late 19th century to the present. Each of the eight volumes examines three directors and offers an overview of their practices, theoretical ideas, and contributions to modern theatre. The studies chart the life and work of each director, placing his or her achievement in the context of other important theatre practitioners and broader social history. Written by a team of leading experts, the series presents the genealogy of directing in North America while simultaneously chronicling crucial trends and championing contemporary interpretation.
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14

Other Perspectives: Staging Motherhood in 21st Century North American Theatre & Performance. Taylor & Francis Group, 2023.

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15

Chambers, Jonathan, ed. The Great North American Stage Directors. Bloomsbury Publishing Plc, 2021. http://dx.doi.org/10.5040/9781350045163.

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The Great North American Stage Directors: Set 1 offers an authoritative account of the work, lineage and legacy of the major theatre directors prior to 1970, where the role of the director is seen primarily as interpreter. Across the four volumes it provides a uniquely rich study of the genealogy and development of a practice through focus on individual directors and the wider context and artform in which they worked. For professional practitioners and those developing their skills, as well as those engaged in the analysis of theatre practices, forms and history, it will prove an essential resource. Each volume provides substantial treatment of three major directors, with each director considered by two specialists, combining analysis of the director’s practical craft with accounts of the historical, cultural and theoretical context of their practice. Links between the featured directors and other artists and directors from the period are traced to round out the picture of influences and artistic development. Harold Clurman, Orson Welles, Margo Jones: The Director in the Company (edited by Jonathan Chambers, Bowling Green State University, USA) Featuring 64 illustrations, the eight volumes from Sets 1 and 2 of The Great North American Stage Directors series combine to present the most authoritative survey available on North American theatre directors.
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16

Bial, Henry, and Chase Bringardner, eds. The Great North American Stage Directors. Bloomsbury Publishing Plc, 2021. http://dx.doi.org/10.5040/9781350045248.

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George Abbott, Vinnette Carroll, and Harold (Hal) Prince were trailblazing figures who helped shape and define the Broadway musical over the course of the 20th century. Their careers expanded the boundaries of the genre, highlighting the critical role of the director in the creation of a new musical. As theatre history, the essays in this volume help to complicate and deepen the reader’s understanding of the musical genre of Broadway and of the enduring legacies of these three pioneers. As lessons in theatrical direction, they illustrate the particular issues involved in directing musicals, as well as the stakes of working commercially at the highest levels of the industry. The Great North American Stage Directors series provides an authoritative account of the art of directing in North America by examining the work of twenty-four major practitioners from the late 19th century to the present. Each of the eight volumes examines three directors and offers an overview of their practices, theoretical ideas, and contributions to modern theatre. The studies chart the life and work of each director, placing his or her achievement in the context of other important theatre practitioners and broader social history. Written by a team of leading experts, the series presents the genealogy of directing in North America while simultaneously chronicling crucial trends and championing contemporary interpretation.
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17

Shanahan, Ann M., ed. The Great North American Stage Directors. Bloomsbury Publishing Plc, 2022. http://dx.doi.org/10.5040/9781350045415.

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This volume assesses the work of Meredith Monk, Richard Foreman, and Robert Wilson, three artists who have revolutionized the craft of directing and the art of theatre in both related and unique ways. Though their early artistic backgrounds differ, ranging from architecture, music and dance to writing, they are similar in that none of them began their career as a director per se or received formal training as such. They each assumed the director’s role based on the demands of their complex artistic visions, which combine art forms, but resist synthesis, finding expression in the differences and tensions between the forms. The essays in this volume explore how these auteur directors combine text, movement, film, sound and music, installation and visual arts to achieve their visions, employing multi-perceptual modes to evoke full and rich theatrical experiences. The Great North American Stage Directors series provides an authoritative account of the art of directing in North America by examining the work of twenty-four major practitioners from the late 19th century to the present. Each of the eight volumes examines three directors and offers an overview of their practices, theoretical ideas, and contributions to modern theatre. The studies chart the life and work of each director, placing his or her achievement in the context of other important theatre practitioners and broader social history. Written by a team of leading experts, the series presents the genealogy of directing in North America while simultaneously chronicling crucial trends and championing contemporary interpretation.
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18

The Politics of Farce in Contemporary Spanish American Theatre (North Carolina Studies in the Romance Languages and Literatures). The University of North Carolina Press, 2006.

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19

May, Theresa. Salmon Is Everything: Community-Based Theatre in the Klamath Watershed. Oregon State University Press, 2018.

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20

Carson, Christie. Shakespeare in the Theatre: The Stratford Festival. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781350380837.

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This analysis of the Stratford Festival examines the full history of one of the largest and oldest dedicated centres for the performance of Shakespeare in North America. In English Canada, this Festival has become the unofficial national theatre and, as such, it has drawn criticism and complaint as well as praise. This volume divides the history of the Festival into three distinct periods, beginning with the foundation of the company, moving through its middle years of expansion and securing stability and ending with an exploration of staging Shakespeare in the 21st century. Through case studies of productions, covering each Artistic Director from Tyrone Guthrie to Antoni Cimolino, it highlights issues of national identity but also the unique relationship that exists between the actor and the audience on the Festival stage. It not only explores the work of international stars such as Christopher Plummer, but also examines the work of longstanding company members William Hutt and Martha Henry, emphasizing the Festival's collective spirit. Shakespeare in the Theatre: The Stratford Festival argues that the Stratford Festival holds an influential position in the theatre world generally and in the Shakespeare performance environment specifically. Initially this was because of the innovative thrust stage built for its opening, but increasingly in the 21st century it has been due to the way that this Festival has used Shakespeare’s work to articulate complex questions about national identity and used technology to reach new audiences. The work of the British and American artists who have come to the Festival has been significant, but these artists have also been influenced by the collaborative spirit and working methods established by the company. The Festival and its methods grew out of a very particular social and political climate, and when the actors and directors who trained at the Festival took their training elsewhere, they spread its impact.
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21

Londre, Felicia Hardison, and Daniel J. Watermeier. The History of North American Theater: The United States, Canada, and Mexico : From Pre-Columbian Times to the Present (The History of World Theater). Continuum International Publishing Group, 2000.

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22

Kosstrin, Hannah. Modernist Forms in a Jewish State. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199396924.003.0006.

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Focusing on Sokolow’s work in Israel, this chapter highlights tensions between American Jewishness and Israeliness through critical response to her dances Dreams (1961), Opus ’63 (1963), Forms (1964), and Odes (1964). It introduces the term “sabra physicality” to describe the performative qualities of defiant vulnerability that dancers in Sokolow’s Israeli company Lyric Theatre introduced into her oeuvre. With financial support from the American Fund for Israeli Institutions (America–Israel Cultural Foundation), Sokolow was part of the North American influence building Israeli art and cultural institutions as postwar alliances formed between the United States and Israeli governments. This chapter further shows Sokolow’s role in disseminating American modern dance through the bodies of her students abroad, through her work with the Inbal Yemenite Dance Group (Inbal Dance Theater) and Lyric Theatre. In turn, the way those dancers performed Graham’s technique and Sokolow’s choreography changed American modernism.
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23

Yunhwa Rao, Nancy. Shaping Forces, Networks, and Local Influences. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040566.003.0002.

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This chapter surveys the historical context of the 1920s renaissance of Chinese opera theaters in the United States, including social, economic, cultural, and political forces of nation-states that helped shape the Chinese theater network linking China, the United States, Canada, and Cuba. It represents an important shift of the discourse of American musical history from the traditional focus of Atlantic World to that of the Pacific, presenting Chinatown theaters of North America as products of complex transnational forces. It also considers the symbolic significance of language and the impact of transnational network. The chapter therefore challenges the traditional characterization of the Chinese theater community as recalcitrant, demonstrating the many ways in which Chinese and Chinese American performers, owners, and patrons were active participants in the cultural milieu of North America in this period.
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24

Almond, Todd. Slow Train Coming: Bob Dylan's Girl from the North Country and Broadway's Rebirth. Bloomsbury Publishing Plc, 2025. http://dx.doi.org/10.5040/9781350407411.

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The incredible journey of a musical from potential disaster to success, and the Broadway industry that managed to stay alive during the pandemic shutdown of 2020-22. Despite historic, seemingly insurmountable setbacks of four openings, Bob Dylan and Conor McPherson’s musicalGirl from the North Countrybecame a critical Broadway hit. Hailed as an experience “as close as mortals come to heaven on earth,” by The New York Times, the musical weaves two dozen songs from the legendary catalogue of Bob Dylan into a story of Duluth during the Great Depression, to create a future American classic. Opening on Broadway in the middle of an unprecedented moment,Slow Train Comingis a book about pressing on in the face of extreme adversity. Todd Almond’s behind-the-scenes oral history weaves his personal first-hand account of starring in the show with exclusive interviews and reflections from fellow cast members and the creative team. Together they follow the show from its beginnings at New York’s Public Theater where it emerged as an underdog-of-a-show, through a fraught jump to Broadway against a backdrop of the emerging Covid-19 pandemic and the longest shutdown in Broadway history, which resulted in the theatre industry’s subsequent fight for survival. Told through personal stories, anecdotes from the cast, production shots, behind-the-scenes photos, and insights from the creators, this book is both an inside look at a perilous moment of one of America’s proudest institutions, Broadway, and a true story of American grit and determination lived by the company of this quirky musical-that-could.
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25

Carr, James Revell. “Lascivious Gestures” and “Festive Sports”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038600.003.0002.

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This chapter examines the first musical encounters between Hawaiians and Euro-American sailors, beginning with the arrival of Captain James Cook in 1778. It explains early European and American visions of what Cook called “The Sandwich Islands,” and demonstrates that modern stereotypes of Hawaiian culture had their genesis in the stories of paradise on earth brought back to Europe and the United States by sailors. It shows how Hawaiians used music and dance as a conscious strategy for pacifying and disseminating information about the potentially violent foreigners. The chapter concludes with stories of the earliest recorded performances of hula in North America: in 1792, when two young Hawaiian women traveling with Captain George Vancouver performed at the home of the governor of Alta California in Monterey; and in 1802, when Hawaiian seamen working aboard American ships performed at the Park Theatre in New York and the Federal Street Theatre in Boston in productions of the popular pantomime The Death of Captain Cook.
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26

Westgate, J. Chris. Urban Drama: The Metropolis in Contemporary North American Plays. Palgrave Macmillan, 2011.

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27

Westgate, J. Chris. Urban Drama: The Metropolis in Contemporary North American Plays. Palgrave Macmillan, 2015.

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28

Westgate, J. Chris. Urban Drama: The Metropolis in Contemporary North American Plays. Palgrave Macmillan, 2011.

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29

Directory of contemporary operas & music theater works & North American premieres, 1980-1989. Central Opera Service, 1990.

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30

(opera). Directory of Contemporary Operas & Music Theater Works & North American Premieres, 1980-1989. n/a, 1990.

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31

Däwes, Birgit. Indigenous North American Drama: A Multivocal History. State University of New York Press, 2013.

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32

Shurgot, Michael W. North American Players of Shakespeare: A Book of Interviews. University of Delaware Press, 2007.

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33

Shurgot, Michael W. North American Players of Shakespeare: A Book of Interviews. Rowman & Littlefield Publishers, Incorporated, 2007.

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34

Shurgot, Michael W. North American Players of Shakespeare: A Book of Interviews. University of Delaware Press, 2007.

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35

Native North American theater in a global age: Sites of identity construction and transdifference. Winter, 2007.

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36

Wings of Night Sky, Wings of Morning Light: A Play by Joy Harjo and a Circle of Responses. Wesleyan University Press, 2019.

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37

Harjo, Joy, and Priscilla Page. Wings of Night Sky, Wings of Morning Light: A Play by Joy Harjo and a Circle of Responses. Wesleyan University Press, 2019.

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38

Harjo, Joy, and Priscilla Page. Wings of Night Sky, Wings of Morning Light: A Play by Joy Harjo and a Circle of Responses. Wesleyan University Press, 2019.

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39

Brewer Redwine, Elizabeth, ed. Sara Allgood’s Memories. Oxford University PressOxford, 2025. https://doi.org/10.1093/9780192867100.001.0001.

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Abstract Sara Allgood, Abbey Theatre actress, Hollywood contract player, Inghinidhe na hÉireann member, and early film performer, wrote this autobiography, entitled ‘Memories’, towards the end of her life, encouraging readers to acknowledge the roles of performers and theatre-makers in the creation of the Abbey. The book allows readers into the worlds of late 19th-century Dublin, the early Abbey, the Easter Rising, both world wars, Hitchcock’s first films, and early to mid-century Hollywood. In her engaging voice, Sara Allgood shares intimate memories of well-known Abbey and theatrical figures like William Butler Yeats, Lady Gregory, Maud Gonne, J. M. Synge, Willie and Frank Fay, and Sean O’Casey; her account stresses the roles of important working-class contributors to the Abbey like Ellen Bushell, the charwoman, and Sean Barlow, stage manager. ‘Allgood’s Memories’ tells the story of the Abbey from the perspective of a young North Dublin woman who had to sneak out after work to attend rehearsals; her account recovers connections between the early nationalist and feminist movements in Dublin, the founding of the Abbey, political activism, and British and American film. Allgood sees the denizens of the Abbey as we have not seen them before and brings us into her childhood home as well as the sets of 1940s Hollywood films. Her ‘Memories’ will allow theatre, film, and political historians, students, and general readers to hear a new and refreshing voice that will inspire many to reconsider what they know of the Abbey, Dublin, and early film.
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40

Ring Shout The Racial Politics Of Music And Dance In North American Slavery. University of Illinois Press, 2014.

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41

Galván, Javier A. Culture and Customs of Bolivia. ABC-CLIO, LLC, 2011. http://dx.doi.org/10.5040/9798400635205.

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In this book, contemporary representations of Bolivian art, music, religion, literature, festivals, theater, and cinema document how history and geography have shaped Bolivia's modern culture. Bolivia has long been neglected by North American historians and anthropologists. Now, author Javier A. Galván fills this gap with a book that analyzes the complex cultures of this South American nation within the context of its rich history and contemporary traditions. The first half of this text is dedicated to how and where people live—detailed geography, social traditions, religious practices, political institutions, and Bolivian cuisine and culture. The varied religious and linguistic traditions of the indigenous groups that comprise the majority of the national population are also described, giving readers a deeper appreciation for the diversity of Bolivia's character. The second half of the book explores the creative talent of Bolivians who are advancing the literary movements, painting styles, architectural design, theater productions, fashion design, and emerging film industry of the country. Culture and Customs of Bolivia also includes a detailed analysis of contemporary print and broadcasting media.
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42

Thompson, Katrina Dyonne. Ring Shout, Wheel About: The Racial Politics of Music and Dance in North American Slavery. University of Illinois Press, 2014.

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43

Thompson, Katrina D. Ring Shout, Wheel About: The Racial Politics of Music and Dance in North American Slavery. University of Illinois Press, 2014.

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44

Gladhart, Amalia. Leper in Blue: Coercive Performance and the Comtemporary Latin American Theater (North Carolina Studies in the Romance Languages and Literatures). University of North Carolina Press, 2000.

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45

Hanson, Frederick R., and U. S. Army Medical Department. Combat Psychiatry: Experiences in the North African And Mediterranean Theaters of Operation, American Ground Forces, World War II. University Press of the Pacific, 2005.

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46

(Editor), Hanay Geiogamah, and Jaye T. Darby (Editor), eds. American Indian Theater in Performance: A Reader. American Indian Studies Center University Ang, 2000.

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47

Koch, Frederick H. Carolina Folkplays: Third Series. Reprint Services Corporation, 1992.

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48

Koch, Frederick H. Carolina Folk Plays. Kessinger Publishing, 2005.

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49

Koch, Frederick H. Carolina Folkplays: Second Series. Reprint Services Corporation, 1992.

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Koch, Frederick H. Carolina Folkplays: First Series. Reprint Services Corporation, 1992.

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