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Books on the topic 'Theatrical realism'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Storer, Inez. Theatrical realism: The art of Inez Storer. De Saisset Museum, 2003.

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2

interviewer, Bossart Rolf editor, and Rau Milo 1977-, eds. Globaal realisme. NTGent, 2018.

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3

The Actors Studio and Hollywood in the 1950s: A History of Theatrical Realism. Edwin Mellen Pr, 2007.

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4

Storer, Inez. Theatrical Realism: The Art of Inez Storer: De Saisset Museum, Santa Clara University, September 27-December 7, 2003. de Saisset Museum Santa Clara University, 2003.

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5

Barker, Roberta. ‘Deared by Being Lacked’. Edited by James C. Bulman. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199687169.013.5.

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Though it has been much criticized by theatre artists and scholars, the legacy of theatrical realism and naturalism continues to shape contemporary Shakespearean performance. If realist and naturalist approaches to acting fail to encompass the full power of the Shakespearean play-text—or to remedy its more problematic aspects—is this failure necessarily unproductive? Considering this question in relation to the play-text of Antony and Cleopatra and a few of its recent theatrical incarnations, this chapter argues that the lacks, omissions, and failures of realist and naturalist modes of perform

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6

Tait, Peta, ed. The Great European Stage Directors. Bloomsbury Publishing Plc, 2019. http://dx.doi.org/10.5040/9781474208390.

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This volume assesses the contributions of André Antoine, Konstantin Stanislavski and Michel Saint-Denis, whose work has influenced theatre and training for over a century. These directors pioneered Naturalism and refined Realism as they experimented with theatrical form including non-Realism. Antoine and Stanislavski’s theatre direction proved foundational to the creation of the director’s role and artistic vision, and their influential ideas progressively developed through the stylized theatre of Saint-Denis to the innovative contemporary theatre direction of Max Stafford-Clark, Declan Donnel

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7

Cole, Emma, ed. Experiencing Immersion in Antiquity and Modernity. Bloomsbury Publishing Plc, 2025. https://doi.org/10.5040/9781350419124.

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This book examines the links between experiencing immersion in antiquity and modernity. Immersive experiences are big business within today’s creative economy. Forms range from immersive museum exhibitions, theatrical performances, art installations and experiences facilitated through virtual and augmented reality technologies. Yet the idea of immersion is not new; paintings, sculpture and theatre have all been theorised historically in terms of illusion, realism and immersion. From antiquity to modernity, there has been an interest in theorising the relationship between reality and virtual re

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8

Taylor, Millie. Lionel Bart. Edited by Robert Gordon and Olaf Jubin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199988747.013.20.

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Lionel Bart created musical theatre works from a uniquely British working-class perspective. Rather than having an academic training he relied on instincts developed from a working-class East End Jewish upbringing, the London pop music industry, and his early theatrical experiences at Unity and Theatre Workshop. From these diverse influences he produced what is arguably one of the best-loved British musicals of all time, Oliver! Subsequently, Blitz! and Maggie May also achieved commercial and critical success in Britain, but did not transfer to Broadway. Building on his background and theatric

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9

Nikolaj Michajlovic Foregger (1892-1939): Dal simbolismo al realismo socialista. Bulzoni, 2007.

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10

David, Deirdre. Pamela Hansford Johnson. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198729617.001.0001.

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This literary biography traces the life of Pamela Hansford Johnson from her birth in a theatrical family to her death as the widow of C.P. Snow. A prolific writer, she published almost thirty novels, reviewed fiction for major newspapers, and made regular appearances on BBC cultural programmes. She lived through tumultuous changes in British life—1930s political unrest, World War 2, and postwar austerity: social changes that form the background for her fiction. Persuaded by her first love, Dylan Thomas, to abandon writing poetry for writing fiction about her life in South London, she devoted h

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11

Reynolds, Paige. Design and Direction to 1960. Edited by Nicholas Grene and Chris Morash. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198706137.013.14.

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Early Abbey staging and design was extremely simple, partly enforced by the limitations of their resources. Yeats’s ambitious experiments with the screens of Gordon Craig came to nothing. Initially, the Gate Theatre was established self-consciously as a theatrical alternative to the Abbey, open to European aesthetics, and concentrated on stage production and design, ideas articulated and exemplified by Micheál Mac Liammóir and Hilton Edwards in their design and direction work. However, the chapter argues that this conventional narrative overlooks the design work of Tanya Moiseiwitsch at the Ab

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12

Lewis, Hannah. “An achievement that reflects its native soil”. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190635978.003.0004.

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The third chapter focuses on several French-language musical films, known as opérettes filmées (filmed operettas), that were produced by American and German companies and intended for French audiences. Because French production was slow to adopt sound film technology, many French personnel (directors, composers, and actors) worked on their first sound films through these international contexts. The films analyzed in this chapter—Chacun sa chance, Le Chemin du paradis, and Il est charmant—drew influence from a range of stage genres from different national traditions, and attempted to negotiate

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13

Frieze, James. Theatrical Performance and the Forensic Turn. Taylor & Francis Group, 2019.

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14

Frieze, James. Theatrical Performance and the Forensic Turn. Taylor & Francis Group, 2019.

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15

Frieze, James. Theatrical Performance and the Forensic Turn. Taylor & Francis Group, 2020.

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16

Levitas, Ben. The Abbey and the Idea of a Theatre. Edited by Nicholas Grene and Chris Morash. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198706137.013.4.

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The Irish national theatre movement developed in the ferment of cultural nationalism at the turn of the century, but it was not at all clear what form a national theatre should take: an Ibsenian model of critical realism, favoured by Edward Martyn, George Moore, and John Eglinton, the mythological poetic drama of Yeats, or the peasant plays that came to be written by Yeats and Gregory. Apart from the playwrights, the company of actors formed around the Fay brothers, nationalist groups such as Maud Gonne’s Inghinidhe na hEireann, and the Abbey’s English patron Annie Horniman all had ideas of th

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17

Theatrical Performance and the Forensic Turn: Naked Truth. Taylor & Francis Group, 2019.

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18

Wolfe, Peter. Terence Rattigan. Lexington Books, 2019. https://doi.org/10.5040/9781978729575.

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The theatrical world Terence Rattigan built is vital but disturbing and uniquely constructed. His sentences are not impacted or fractured, and his plots usually obey a linear time sequence. Yet his realism isn't all that real. Though sentence by sentence, his dialogue sounds natural, the creative pulse behind it is idiosyncratic and self-lacerating. As a gay man writing at a time when homosexuality was a felony in the UK, Rattigan wrote at a skewed angle to his culture, making his plays at times easy to follow but hard to fathom. Terence Rattigan: The Playwright as Battlefield examines the way

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19

Owens, Rebekah. Studying Shakespeare on Film. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800348547.001.0001.

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Aimed at newcomers to the subject, this book is a guide for the analysis of Shakespeare on film. Starting with an introduction to the main challenge faced by any director — the early-modern language of the plays — there follows exemplars for examining how that challenge is met using as case studies twelve Shakespeare films, including Romeo and Juliet, Macbeth, and The Tempest. The reader is invited to explore different critical approaches such as how a director can tell the story of the play in a setting that embraces the expectations of realism in cinema, but still pays homage to the theatric

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20

Escolme, Bridget. Tragedy in Twentieth and Twenty-first Century Theatre Production. Edited by Michael Neill and David Schalkwyk. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198724193.013.33.

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This chapter discusses the relationship between actor and scenography in twentieth and twenty-first century productions of Hamlet and King Lear, particularly the common theatrical trope of realist acting on abstract stage sets. It argues that whilst in some productions the notion of tragic hero as common man reduces the plays to a set of psychological problems, in others, contrasts and tensions between acting style and scenography or theatre architecture have created what the author calls a ‘politics of intimacy’. These productions have made it possible for detailed, realist acting on non-natu

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21

Solomon, William. The Politics and Poetics of Attraction II. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040245.003.0004.

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This chapter continues the conceptual thread of “attraction” while exploring the film oeuvre of the “third genius” of silent screen comedy: Harold Lloyd. This time it is the manifesto-like claims of Eisenstein's theatrical collaborator, Sergei Tretyakov, that provide the theoretical point of departure. The chapter argues that Lloyd, together with his producer Hal Roach, grasped the virtues of athletic performances on screen as a means of helping to train the masses somatically, in order to handle the demands of life in threatening urban settings. The status of the image here is not that of a c

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22

Fishbane, Eitan P. The Art of Mystical Narrative. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199948635.001.0001.

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This book studies the Zohar as a work of literature. While the Zohar has long been recognized as a signal achievement of mystical theology, myth, and exegesis, this monograph presents a poetics of zoharic narrative, a morphology of mystical storytelling. Topics examined include mysticism and literature; fiction and pseudepigraphy; diaspora and exile; dramatic monologue and the representation of emotion; voice, gesture, and the theatrics of the zoharic tale; the wandering quest for wisdom; anagnorisis and the poetics of recognition; encounters with the natural world as stimuli for mystical crea

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23

Henke, Robert. Poor. Edited by Henry S. Turner. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199641352.013.24.

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This chapter examines how the experience of poverty followed players wherever they travelled, furnishing the European theatre with some of its most popular tropes while at the same time persisting as a raw, brute reality throughout all of its formal translations and displacements. The chapter sets the drama of England, France, Italy, and Spain against the backdrop of the new modes of capitalist accumulation that were beginning to transform European society, including the commercial theatre itself, in order to demonstrate the omnipresence of poverty as theatrical energy in early modern theatre

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24

Sisman, Elaine. Symphonies and the Public Display of Topics. Edited by Danuta Mirka. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199841578.013.004.

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To the multiple audiences for whom Haydn, Mozart, Beethoven, and their contemporaries composed—patrons, publishers, players, and an expanding universe of listeners at different levels of knowledge—symphonies were the ubiquitous markers of public musical life in the later eighteenth century, opening and sometimes closing concerts and theatrical events. To heighten their appeal and intelligibility, classical composers found topics for their symphonies in the expressive worlds of opera and theater, as well as in the realms of human activity in nature, at court, or (less often) in the church. In s

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25

Egan, Clare. Performing Libel in the Provinces. Oxford University PressOxford, 2025. https://doi.org/10.1093/9780198955542.001.0001.

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Abstract Performing Libel in the Provinces traces the performance nature, dramatic traditions, and literary features of private libel occurring in the Jacobean English provinces. The early modern phenomenon of private libel saw communal scandals creatively couched in verses, symbols, or mock-ceremonies and read, sung, and posted in prominent provincial spaces. By the seventeenth century, libelling a private individual had been criminalized and was being tried at the court of Star Chamber, bringing the crime into the same realms as the slander of monarchy and government. Charting both legal and

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26

Dhar, Amrita, and Amrita Sen, eds. Shakespeare in the ‘Post’Colonies. Bloomsbury Publishing Plc, 2025. https://doi.org/10.5040/9781350344174.

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Shakespeare in the 'Post'Colonies provides a wide-ranging examination of engagements with and adaptations of Shakespeare in regions that were once under European colonial rule. Arguing for the 'Post'Colonies as a distinct category within Global Shakespeares, this volume explores the reality of 21st-century Shakespeares in geographies of post-colonial and postcolonial inheritance, such as continental Africa, Australasia, the Arab world, the Indian subcontinent, East Asia and the Americas. As former colonies in Asia and Africa cross fifty and even seventy years of political independence, contrib

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27

Juergensmeyer, Mark. Religious Terrorism as Performance Violence. Edited by Michael Jerryson, Mark Juergensmeyer, and Margo Kitts. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199759996.013.0017.

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This chapter describes religious terrorism as “performance violence,” illustrating that performance violence is planned in order to obtain tangible goals, and also to theatrically enact and communicate an imagined reality. The scenario that underlies the performance of religious terrorism is often one of cosmic war. Some religious terrorism could also be motivated by scenarios other than cosmic war. The idea of warfare involves more than an attitude; it is ultimately a world view and an assertion of power. An act of violence sends two messages at the same time: a broad message aimed at the gen

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28

Kendrick, Robert L. Fruits of the Cross. University of California Press, 2018. http://dx.doi.org/10.1525/california/9780520297579.001.0001.

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This study of some sixty-odd Italian-language music-theater pieces for Holy Week in seventeenth-century Vienna addresses the issues of Habsburg dynastic piety, memory and commemoration, Passion devotion, and political meaning in the works. It further considers some surprising conjunctions of poetic conceptualism in connection with surprising—and theatrical—musical techniques. The pieces were meant to be performed in front of a constructed replica of Christ’s tomb—hence their Italian sobriquet, sepolcri—and often with an additional stage-set. Flourishing during the reign of Emperor Leopold I (1

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29

Kearney, James. Shakespearean Ethics in Extremity. Oxford University PressOxford, 2025. https://doi.org/10.1093/9780198954590.001.0001.

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Abstract Shakespearean Ethics in Extremity addresses forms of ethical experience on the Shakespearean stage. Early modern theater traffics in the vicarious experience of ethics, often ethics in some extreme or impossible circumstance. What does it feel like to be enjoined to avenge your father’s murder? What is it like to banish your daughter or disavow your community? To murder? This book contends that Shakespearean theater, fundamentally oriented to the experiential, invites its audiences to entertain and to be entertained by what the philosopher Bernard Williams calls “a phenomenology of th

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30

Stohr, Karen. Minding the Gap. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190867522.001.0001.

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The book is a philosophical exploration of the gap between our moral ideals and the imperfect moral reality in which we live, and the implications of that gap for the practical project of moral improvement. We are limited in our ability to recognize and be guided by moral ideals, owing to a variety of moral and epistemic shortcomings. In light of that, how can the practical project of moral improvement get off the ground? An account of moral improvement should begin from psychologically plausible starting points, and it should also rely on ideals that are both normatively authoritative and reg

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31

Pizzato, Mark. Beast-People Onscreen and in Your Brain. ABC-CLIO, LLC, 2016. http://dx.doi.org/10.5040/9798400617065.

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A new take on our bio-cultural evolution explores how the “inner theatre” of the brain and its “animal-human stages” are reflected in and shaped by the mirror of cinema. Vampire, werewolf, and ape-planet films are perennial favorites-perhaps because they speak to something primal in human nature. This intriguing volume examines such films in light of the latest developments in neuroscience, revealing ways in which animal-human monster movies reflect and affect what we naturally imagine in our minds. Examining specific films as well as early cave images, the book discusses how certain creatures

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32

Weisband, Edward. The Macabresque. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190677886.001.0001.

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This book provides an original interpretation of the emotional psychology and disordered will of perpetrators during episodes of genocide and mass atrocity that have taken place throughout the twentieth century. It focuses on the persistence of staged human violation and lurid degradation as a prelude to the death of victims, who are forced to act out the diabolical fantasies of perpetrators. Explanations of ludic dying derive from a cultural, psychological, and psychosocial examination of the macabresque, the theatrical realm of depraved inhumanity that, as this study shows, invite perpetrato

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33

Romani, Gabriella, and Jennifer Burns. Formation of a National Audience in Italy, 1750–1890. Fairleigh Dickinson University Press, 2017. https://doi.org/10.5040/9781683934677.

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The late eighteenth and the nineteenth centuries witness significant advancement in the production and, crucially, the consumption of culture in Italy. During the long process towards and beyond Italy becoming a nation-state in 1861, new modes of writing and performing – the novel, the self-help manual, theatrical improvisation – develop in response to new practices and technologies of production and distribution. Key to the emergence of an inclusive national audience in Italy is, however, the audience itself. A wide and varied body of consumers of culture, animated by the notion of an Italian

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