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This volume includes major theoretical writings on drama from the
Greeks, through the Renaissance up to the late seventeenth century,
compiled and edited for students of drama and theatre. There are
substantial extracts from twenty-eight writers including Plato,
Aristotle, Horace, Scaliger, Castelvetro, Guarini, Sidney, Jonson,
Corneille, Racine, Dryden and Congreve. The compilers have chosen
writers who present detailed arguments about issues that are sill
relevant to our understanding of drama and theatre. Many of the
texts have been freshly translated and all have newly been
annotated and introduced by the compilers, who draw attention to
recurrent themes by a system of cross-references. Michael Sidnell's
useful introduction explores the issues which frequently concern
these writers and practitioners: the nature of imitation, the
relation of dramatic text to live performance, the effect of stage
action on audience emotion and behaviour - issues which still
concern critics and theorists of drama today. Later volumes will
cover the period from Diderot to Victor Hugo, modern dramatic
theory and performance theory.
This volume includes major theoretical writings on drama from the
Greeks, through the Renaissance up to the late seventeenth century,
compiled and edited for students of drama and theatre. There are
substantial extracts from twenty-eight writers including Plato,
Aristotle, Horace, Scaliger, Castelvetro, Guarini, Sidney, Jonson,
Corneille, Racine, Dryden and Congreve. The compilers have chosen
writers who present detailed arguments about issues that are sill
relevant to our understanding of drama and theatre. Many of the
texts have been freshly translated and all have newly been
annotated and introduced by the compilers, who draw attention to
recurrent themes by a system of cross-references. Michael Sidnell's
useful introduction explores the issues which frequently concern
these writers and practitioners: the nature of imitation, the
relation of dramatic text to live performance, the effect of stage
action on audience emotion and behaviour - issues which still
concern critics and theorists of drama today. Later volumes will
cover the period from Diderot to Victor Hugo, modern dramatic
theory and performance theory.
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