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Books on the topic 'Theatre'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 May 2025

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1

Hertzberger, Herman. Chassé Theater Breda =: Theatre Breda. Rotterdam: Uitgeverij 010 Publishers, 1995.

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2

Georges, Aperghis, ed. Theater und Musik =: Theatre and music. Brussel: Kaaitheater, 1995.

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3

Maugham, W. S. Theatre. Санкт-Петербург: КАРО, 2006.

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Maugham, W. S. Theatre. Санкт-Петербург: КАРО, 2009.

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5

Ch"oe, Inhun. Theatre. Paris: Cric/Libraire-galerie Racine, 2000.

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Maugham, W. Somerset. Theatre. Москва: Менеджер, 2002.

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7

Stone, Judy S. J. Theatre. London: Macmillan Caribbean, 1994.

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8

Cohen, Robert. Theatre. 6th ed. Boston: McGraw-Hill, 2003.

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9

Cohen, Robert. Theatre. 4th ed. Mountain View, Calif: Mayfield Pub. Co., 1997.

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10

Anderson, Judith. Theatre. London: Wayland, 2013.

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11

1934-, Von Szeliski John, ed. Theatre. 2nd ed. Mountain View, Calif: Mayfield Pub. Co., 1988.

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12

Zanzi, Anic. Theatre. Milan, Italy: 5 continents, 2019.

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13

Sophocles, ed. Theatre. Oldcastle, Country Meath, Ireland: Gallery Books, 2013.

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14

Dawson, Jerry. Left theatre: Merseyside Unity Theatre. Liverpool: Merseyside Writers, 1985.

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15

Núñez, Nicolás. Anthropocosmic Theatre: Theatre, Ritual, Consciousness. Huddersfield: University of Huddersfield Press, 2019.

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16

V, TV. Theater Lover Theatre Geek. Independently published, 2018.

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17

Public theatres and theatre publics. Newcastle upon Tyne: Cambridge Scholars Pub., 2012.

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18

Gerould, Daniel. Theatre/Theory/Theatre. Applause Books, 2000.

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19

Gerould, Daniel, and Hal Leonard Corp Staff. Theatre/Theory/Theatre. Leonard Corporation, Hal, 2000.

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20

McMillan, Joyce. Traverse Theatre Story. Heinemann, 1988.

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21

Ehrlich, Roman. Theater des Krieges: Theatre of War. Dreen, Markus, Anne König u. Jan Wenzel. Spectormag GbR, 2021.

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22

Want, Robert S. Want's Theater Directory 1994 (American Theatre). Want Pub, 1994.

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23

Theatre and Audience (Theatre &). Palgrave Macmillan, 2009.

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24

Services, York (England) Leisure, ed. Theatre Royal: Theatre club. York City Council Leisure Services, 1994.

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25

Theatre and Politics (Theatre &). Palgrave Macmillan, 2009.

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26

Theatre and Education (Theatre &). Palgrave Macmillan, 2009.

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27

(Editor), John Istel, ed. Theatre Profiles: The Illustrated Guide to America's Nonprofit Professional Theatres (Theatre Profiles). 2nd ed. Theatre Communications Group, 1986.

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28

Yarrow, Ralph. Indian Theatre: Theatre of Origin, Theatre of Freedom. Routledge, 2015.

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29

Indian Theatre: Theatre of Origin, Theatre of Freedom. Routledge, 2012.

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30

Indian Theatre: Theatre of Origin, Theatre of Freedom. RoutledgeCurzon, 2000.

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31

Yarrow, Ralph. Indian Theatre: Theatre of Origin, Theatre of Freedom. Taylor & Francis Group, 2000.

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32

Yarrow, Ralph. Indian Theatre: Theatre of Origin, Theatre of Freedom. Taylor & Francis Group, 2000.

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Yarrow, Ralph. Indian Theatre: Theatre of Origin, Theatre of Freedom. Taylor & Francis Group, 2000.

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34

Lazardzig, Jan, and Hole Rößler, eds. Technologies of Theatre. Klostermann, 2016. http://dx.doi.org/10.5771/9783465142591.

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Baroque theatre spectacles are frequently celebrated for their overwhelming effects and marvelous technologies. However, little is known about how the mechanical knowledge for elaborate stage machineries was actually acquired by architects and engineers, and how it disseminated throughout European theatre cultures with regard to specific religious, social, political as well as economical contexts. So far unnoticed by historians of theatre and performance, the early seventeenth-century codex iconographicus 401 (Bavarian State Library) offers new insight to the transfer of mechanical knowledge and theater technology. This manuscript can now be attributed to Joseph Furttenbach (1591-1667), building master of the Swabian city of Ulm, today best known for his numerous publications on architectural theory. The codex incorporates technical drawings and descriptions of the theatrical machineries invented and designed by Giulio Parigi for the epoch-making festivals at the Medici court in Florence. The invention and construction of theatrical machineries was taught at Parigi’s Florentine academy of art and engineering, which Furttenbach attended. Besides an English translation of Furttenbach’s manuscript (originally written in German language), this volume collects studies at the intersection of theater, architecture, and technology, proposing an innovative approach to the historiography of early modern theater.

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35

Miroshnik, Meg. Theater Artists Making Theatre With No Theater: Spring 2020. Savage Candy Productions, 2020.

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36

Theatre. London: Random House Publishing Group, 2008.

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37

Brady, Linzy, and Jolyon Mitchell. Theatre. Edited by Joel D. S. Rasmussen, Judith Wolfe, and Johannes Zachhuber. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780198718406.013.18.

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How did the relation between Christianity and drama evolve during the long nineteenth century? How were Christian beliefs represented, promoted, and interrogated through drama? What part did Christianity play in the changing kinds, spaces, and genres of theatre? This chapter analyses the creation, production, and reception of a range of dramatic forms, including melodramas, musicals, ‘classics’, comedies, and tragedies, as well as explicitly religious, and later in the nineteenth century, cinematic dramas. Plays by George Bernard Shaw, Leo Tolstoy, and Henrik Ibsen are scrutinized alongside early silent films and the evolving passion and religious plays tradition. The chapter teases out a number of underlying tensions relating to the place of Christianity within popular and respectable theatre, romantic and realistic drama, and theatrical and screen drama. The chapter highlights how Christian beliefs were creatively used by playwrights, actors, and theatre-goers, in theatrical, domestic, and public spaces.

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38

Woodruff, Paul. Theatre. Edited by Jerrold Levinson. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199279456.003.0034.

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Philosophy of art began, for European cultures, with Plato's criticism of theatre and Aristotle's account of tragedy; modern philosophical discussion of the arts has been less oriented to theatre, which has generally been submerged in the broader topics of literature and fiction and, most recently, obscured by the rising interest in film. This article explains what theatre is threadbare. Theatre has become increasingly hard to define; traditional theories allowed theatre to melt into literature, while ideas that were new in the twentieth century shattered the comfort of what was thought to be the Aristotelian model and demanded that thinkers about theatre recognize the unique implications of theatre in religion, politics, and the life of community.

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39

Theatre. Vintage International, 2001.

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40

Cheek-O'Donnell, Sydney. Theatre. Emerald Publishing Limited, 2021. http://dx.doi.org/10.1108/9781838673338.

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41

Theatre. Ottawa: eBooksLib, 2005.

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42

Dupont, Florence. Theatre. Oxford University Press, 2010. http://dx.doi.org/10.1093/oxfordhb/9780199211524.013.0028.

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43

Hutson, Lorna. Theatre. Edited by James Simpson and Brian Cummings. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199212484.013.0013.

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In the 1980s, New Historicist critics suggested that Renaissance theater was marked by the Reformation; specifically, that it expressed the vanishing of ritual and sacrament from ordinary people’s lives. More recently, critics like Sarah Beckwith have shown how pre-Reformation theater worked as ritual and sacrament by revealing the extent to which it was implicated in the jurisdiction of confession, penance and absolution for sin. This article revisits the question of how the Reformation abolition of annual mandatory confession affected theater. It qualifies both the New Historicist view of Renaissance theater as evacuated ritual and Beckwith’s view of the Protestant abolition of confession as an exteriorization of penance. Reading the first English Renaissance neoclassical comedy in English,Gammer Gurton’s Needle(c.1553-60), the article shows how profoundly its neoclassical concern with proof and evidence is tied in with a rejection of priestly confession and an invitation to parishioners and neighbors to be more skeptical and less credulous in believing the worst of one another.

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44

Marland, Serge. Theatre. Vol. 4. Paris, 1993.

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45

Marland, Serge. Theatre. Vol. 2. Paris, 1993.

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46

Marland, Serge. Theatre. Vol. 1. Paris, 1993.

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47

Obaldia, Rene de. Theatre. Grasset, 2000.

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48

Cohen, Robert. Theatre. 6th ed. McGraw-Hill Humanities/Social Sciences/Languages, 2002.

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49

Theatre. 7th ed. Boston: McGraw-Hill, 2005.

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50

Theatre. Independently Published, 2021.

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