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Books on the topic 'Stage genre'

Author: Grafiati

Published: 2 June 2025

Last updated: 31 July 2025

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1

Ralph, Yarrow, ed. Presence and pre-expressivity. Harwood Academic, 1998.

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2

Sarah, Scott, and Stapleton M. L. 1958-, eds. Christopher Marlowe the craftsman: Lives, stage and page. Ashgate, 2010.

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3

Mitra, Sunetra. The dawn of new entertainment genre: History of development of professional Bengali and Gujarati public stage 1870-1940. Towards Freedom, 2015.

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4

1730-1767, Baker David Erskine, ed. Biographia dramatica, or, A companion to the playhouse: Containing historical and critical memoirs, and original anecdotes, of British and Irish dramatic writers ... also an alphabetical account of their works, the dates when printed, together with an introductory view of the rise and progress of the British stage. Printed for Mess. Rivingtons, ... , T. Payne and Son, ... , [and 7 others], 1987.

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5

Heylen, Romy. Translation, poetics and the stage: Six French Hamlets. Routledge, 1993.

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6

1939-, Zimmerman Susan, ed. Erotic politics: Desire on the Renaissance stage. Routledge, 1992.

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7

Toor, David, ed. Twelfth Night by William Shakespeare: Stage Edition: Designed for use in stage productions of the play with an introduction by the editor. Kenilworth Press, 2000.

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8

Mahood, M. M. Playing Bit Parts in Shakespeare. Taylor & Francis Inc, 2002.

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9

Shin, Harada. Mura no genri, toshi no genri. No-san-gyoson Bunka Kyōkai, 1997.

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10

Fayolle, Caroline. La femme nouvelle: Genre, éducation, Révolution (1789-1830). Éditions du CTHS, 2017.

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11

Barron, Anne. Public information messages: A contrastive genre analysis of state-citizen communication. John Benjamins Pub. Co., 2012.

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12

Spectral Characters: Genre and Materiality on the Modern Stage. University of Michigan Press, 2019.

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13

Balkin, Sarah. Spectral Characters: Genre and Materiality on the Modern Stage. University of Michigan Press, 2019.

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14

Genre: A Guide to Writing for Stage and Screen. Bloomsbury Publishing Plc, 2014.

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15

Genre: A Guide to Writing for Stage and Screen. Bloomsbury Publishing Plc, 2014.

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16

Genre: A guide to writing for stage and screen. Bloomsbury Methuen Drama, 2014.

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17

Leggatt, Alexander. English Stage Comedy, 1490-1990: Five Centuries of a Genre. Taylor & Francis Group, 2004.

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18

English Stage Comedy, 1490-1990: Five Centuries of a Genre. Routledge, 1998.

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19

English stage comedy, 1490-1990: Five centuries of a genre. Routledge, 1998.

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20

Freeman, Lisa A. Character's Theater: Genre and Identity on the Eighteenth-Century English Stage. University of Pennsylvania Press, 2013.

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21

Freeman, Lisa A. Character's Theater: Genre and Identity on the Eighteenth-Century English Stage. University of Pennsylvania Press, 2001.

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22

City and the Stage: Performance, Genre, and Gender in Plato's Laws. Oxford University Press, Incorporated, 2016.

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23

Character's theater: Genre and identity on the eighteenth-century English stage. University of Pennsylvania Press, 2002.

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24

Saggini, Francesca. Gothic Novel and the Stage. Taylor & Francis Group, 2019.

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25

Saggini, Francesca. Gothic Novel and the Stage: Romantic Appropriations. Taylor & Francis Group, 2015.

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26

Saggini, Francesca. Gothic Novel and the Stage: Romantic Appropriations. Taylor & Francis Group, 2015.

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27

Russell, Gillian. The Novel and the Stage. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199574803.003.0028.

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This chapter studies the relationship between the novel and the stage. Novels and plays were the products of the same cultural, political, and social contexts: they were performed, circulated as texts, and interpreted in relation to and often in dialogue and competition with each other. However, the extent to which the development of the novel in this period interacts with that of the stage has received comparatively little attention in literary history. This partly reflects the differentiation of literary genres that took place in the nineteenth century and its subsequent academic institution

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28

Presence and Pre-Expressivity, Part II (Contemporary Theatre Review). Routledge, 1998.

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29

Gothic Novel and the Stage: Romantic Appropriations. Taylor & Francis Group, 2015.

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30

Saggini, Francesca. Gothic Novel and the Stage: Romantic Appropriations. Taylor & Francis Group, 2015.

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31

Saggini, Francesca. Gothic Novel and the Stage: Romantic Appropriations. Taylor & Francis Group, 2015.

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32

Saggini, Francesca. Gothic Novel and the Stage: Romantic Appropriations. Taylor & Francis Group, 2015.

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33

Ethnotheatre: Research from page to stage. Left Coast Press, 2011.

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34

The Gothic Novel and the Stage: Romantic Appropriations. Taylor and Francis, 2015.

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35

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

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36

Gaines, Jane M. The Genius of Genre and the Ingenuity of Women. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036613.003.0001.

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This chapter examines a two-minute melodrama by silent cinema director-producer, Alice Guy Blaché, and demonstrates several of its entry points for—mutually exclusive—readings. Crucially, such readings depend on familiar generically gendered possibilities. Thus, against feminism's assertion of difference, rethinking gender as generic foregrounds the role of repetition and its dynamic of expectation. It is here that the woman filmmaker can work. Her “ingenuity” lies in responding to the “genius” of genre's play with expectation, working out of the past to stage permutations for future imagining

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37

Stern, Tiffany. Making Shakespeare: From Stage to Page. Taylor & Francis Group, 2004.

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38

Stern, Tiffany. Making Shakespeare: From Stage to Page. Taylor & Francis Group, 2004.

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39

Making Shakespeare: From stage to page. Routledge, 2004.

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40

Spry, Tami. Body, Paper, Stage: Writing and Performing Autoethnography. Taylor & Francis Group, 2016.

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41

Spry, Tami. Body, Paper, Stage: Writing and Performing Autoethnography. Taylor & Francis Group, 2016.

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42

Spry, Tami. Body, Paper, Stage: Writing and Performing Autoethnography. Taylor & Francis Group, 2016.

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43

Spry, Tami. Body, Paper, Stage: Writing and Performing Autoethnography. Taylor & Francis Group, 2016.

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44

Body, paper, stage: Writing and performing autoethnography. Left Coast Press, Inc., 2011.

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45

André, Naomi, Karen M. Bryan, and Eric Saylor, eds. Representing Blackness on the Operatic Stage. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036781.003.0001.

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This book examines the ways in which the idea of blackness has worked as a complex of representational strategies in the genre of opera. Offering new readings of both canonical and lesser-known operas by black and nonblack composers alike, it explores what representations of blackness in opera had in their original contexts, and what kind of performative and cultural significance they have retained. It shows that getting a black opera singer onstage involves successfully negotiating many professional and cultural barriers, but achieving that aim can lead to new and equally limiting obstacles.

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46

Language and Power on the Rhetorical Stage. Taylor & Francis Group, 2020.

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47

Jones, Kelly, Robert Dean, and Benjamin Poore. Contemporary Gothic Drama: Attraction, Consummation and Consumption on the Modern British Stage. Palgrave Macmillan, 2019.

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48

Crosbie, Christopher. Revenge Tragedy and Classical Philosophy on the Early Modern Stage. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474440264.001.0001.

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This book discovers within early modern revenge tragedy the surprising shaping presence of a wide array of classical philosophies not commonly affiliated with the genre. By recovering the pervasive influence of Aristotelian faculty psychology on The Spanish Tragedy, Aristotelian ethics on Titus Andronicus, Lucretian atomism on Hamlet, Galenic pneumatics on Antonio’s Revenge and Epictetian Stoicism on The Duchess of Malfi, this book reveals how the very atmospheres and ontological assumptions of revenge tragedy exert their own kind of conditioning dramaturgical force. The book also revitalises

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49

Contemporary Gothic Drama: Attraction, Consummation and Consumption on the Modern British Stage. Palgrave Macmillan, 2018.

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50

Ramsby, Fiona Harris. Language and Power on the Rhetorical Stage: Theory in the Body. Taylor & Francis Group, 2020.

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