Series Information:
Routledge Who's Who

First Published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.

For centuries the theater has been one of the major forms of art. How did acting, and its institutionalization in the theater, begin in the first place? In some cultures complex stories relate the origin of acting and the theater. And over time, approaches to acting have changed considerably. In the West, until the end of the 19th century, those changes occurred within the realm of acting itself, focusing on the question of whether acting should be 'natural' or 'formal.' Approaches to acting were closely related to the trends in culture at large. Acting became more and more professional and sophisticated as philosophical theories developed and knowledge in the human sciences increased. In the 20th century, the director was established as the most important force in the theater--able to lead actors to pinnacles of their art which they could not have achieved on their own. Approaches to acting in non-Western cultures follow quite different patterns. This book provides a clear overview of different approaches to acting, both historical and contemporary, Western and non-Western, and concludes with a challenge to the future of the art.

For the last ten to fifteen years, many disciplines of scholarship have been involved in the study of consciousness, often on an interdisciplinary basis. They include philosophy, neurosciences, psychology, physics and biology, and approaches focusing on human experience. The Centre for Consciousness Studies at the University of Arizona in Tucson spearheaded this development with its bi-annual conferences since 1994, and a wide range of associations, journals and book publications bear witness to its importance. Over the same number of years, scholarly interest in the relationship of consciousness to theatre has equally grown. The book discusses a range of questions relevant to understanding the phenomenon of theatre against a consciousness studies background. Those questions include:
- What inspires the dramatist to write a play? This question addresses the nature of the creative process.
- How do different plays reflect human consciousness?
- What kinds of new ideas did major directors or theatre makers, such as Artaud, Grotowski, Barba, and Brook introduce?
- Should actors be personally involved with the emotions they have to portray?
- Are puppets or marionettes superior to actors?
- How to account for the designer's combination of creativity and practical skill? What part does mental imagination play in the design process? How do designers get their own spatial awareness across to their spectators?
- How does theatre affect the spectator? Why do spectators react as they do? How do distance and suspension of disbelief 'work'?
An improved and expanded understanding of theatre, resulting from answering the questions above in the context of consciousnessstudies, should inspire new developments in theatre practice.

Numerous plays have professionals as major characters, but academia has ignored them to a large extent.
The Professions in Contemporary British Drama fills this extraordinary gap with a series of nine papers discussing the educational professions (Bennett, Mangan), the medical profession (Shields, Buse, ), priests (Kurdi), archaeologists (Forsyth) and artists (Di Benedetto, Meyer-Dinkgrafe, Edwards).
The book is of relevance to theatre academics and students at both undergraduate and postgraduate levels. It is based on a conference organised in conjunction with the Centre for English Studies, School of Advanced Studies, University of London, 6 March 1998.

Twenty major German cities have a total of twenty-four theatres specializing, at a high level of sophistication, in presenting light comedy. They have their own typical ambience, principles of artistic management and casting. There are playwrights, actors, directors and designers who work almost exclusively in the genre, called boulevard comedy, developing highly specialised approaches to their work. In almost all cases, the predominantly privately run boulevard comedy theatres in Germany have been able to attract larger audiences than municipal or state theatres in the same cities. The book provides a description and an analysis of this phenomenon, which is unique to Germany. Chapters focus on an analysis of ambience, artistic managers, artistic policies and artistic structures, on major characteristics of the plays presented on the stages of German boulevard comedy theatres, on aspects of translation and the cultural transfer of comedy and laughter and on aspects of production and reception, dealing in turn with actors, directors, media coverage and audiences.

The aim of this volume is to examine nascent movements, genre shifts, developing authors/playwrights and controversial themes as they emerged in both drama and theatre. The editors have focused on the essence of creative nexus of London from the end of the nineteenth century up to the beginning of the Great War (1914). The resultant study discusses Gordon Craig and production design, Wilde, Shaw, Synge, Pinero, Strindberg, Harley Granville Barker, Jones, Archer, Ford Madox Ford, D.H.Lawrence, Galsworthy, Sims, women playwrights, popular theatre among other topics. The work complements J.L.Styan s 3 volume Modern Drama in Theory and Practice and is more focused on late 19th/early 20th c transitions and dramatic breakthroughs than Modern British Drama of Christopher Inn

For centuries the theatre has been one of the major forms of art. How did acting, and its institutionalization in the theatre, begin in the first place? In some cultures complex stories relate the origin of acting and the theatre. And over time, approaches to acting have changed considerably. In the West, until the end of the 19th century, those changes occurred within the realm of acting itself, focusing on the question of whether acting should be 'natural' or 'formal.' Approaches to acting were closely related to the trends in culture at large. Acting became more and more professional and sophisticated as philosophical theories developed and knowledge in the human sciences increased. In the 20th century, the director was established as the most important force in the theater--able to lead actors to pinnacles of their art which they could not have achieved on their own. Approaches to acting in non-Western cultures follow quite different patterns. This book provides a clear overview of different approaches to acting, both historical and contemporary, Western and non-Western, and concludes with a challenge to the future of the art.

Who's Who in Contemporary World Theatre is a lively and accessible biographical guide to the key figures in contemporary drama. All who enjoy the theatre will find their pleasure enhanced and their knowledge extended by this fascinating work of reference. Its distinctive blend of information, analysis and anecdote makes for entertaining and enlightening reading. Hugely influential innovators, household names, and a whole host of less familiar, international figures - all have their lives and careers illuminated by the clear and succinct entries. All professions associated with the theatre are represented here - actors and directors, playwrights and designers. By virtue of the broad range of its coverage, Who's Who in Contemporary World Theatre offers a unique insight into the rich diversity of international drama today.

eBook available with sample pages: 0203105907

The proposed book collects 24 interviews that I conducted with German and British theatre artists over the period of 20 years. The first set of interviews focuses on British actors, directors and dramatists involved with Plays about Famous Artists. That section complements the material discussed in my book with CSP, Biographical Plays about Famous Artists. The second set of interviews focuses on German actors and directors involved with boulevard comedy theatre. That section complements the material discussed in my book with CSP, Boulevard Comedy Theatre in Germany. Interviews with two British theatre artists feature in the interviews in Part III: David Ian Rabey combines his job as a professor of Drama and Theatre at the University of Wales Aberystwyth with an active career as a theatre actor, director and dramatist. Mike Pearson is a performance practitioner and professor of Performance Studies in the same university department. The final part of the book provides a range of interviews both from the UK and from Germany, starting off with Sir Richard Eyre's account of his seminal production of Hamlet at the Royal Court in 1980. German Director Heinz-Uwe Haus combines the legacy of Brecht (he trained with some of Brecht's foremost disciples) and politics (Haus lived and worked in the former German Democratic Republic-the totalitarian regime's repression influenced his everyday life and work considerably). Ursula Dinkgrafe, finally, represents both personal legacy and the numerous well-trained and highly capable and successful actors across the world who do not (want to) attain star-status.

This book brings together essays based on papers presented at the 6th International Conference on Consciousness, Theatre, Literature and the Arts (CTLA), held from June 10 to 12, 2015, at St Francis College, Brooklyn Heights, New York. The conference was attended by seventy delegates from twenty countries across the world - the twenty-three essays collected here come from delegates from twelve of those countries. The range of contributions reflects the variety of material presented and discussed at the conference, across the fields of philosophy, literature, fine arts, music, dance, performance and theatre. The book, the sixth in the series, will appeal to the growing international community of researchers active and interested in the study of literature, theatre and the arts from a consciousness studies perspective.

In the words of Ezra Talmor: To deal with European Culture in a Changing World is to deal, in fact, with the reciprocal relation between Politics and Economics on the one hand, and Culture on the other. In an era when economic forces are pushing towards European Economic Unity or towards the Globalisation of National Markets it is rather difficult to demarcate the role of Culture. While the European Narrative may have been written by Monnet, De Gaulle, and Adenauer, the Global Narrative is written by an unknown author or rather by Adam Smith's Invisible Hand. On the one hand the postmodernist claim that the Grand Narrative is dead is given the lie. A Grand Narrative is now being written not by Philosophers but by Managers of Multinationals. The Foucauldian "ca parle" (it speaks) is instantiated by the anonymous authors of the Global Narrative. The question to be asked is: What will happen to the rich mosaic of National European Cultures? The answer to this question is not only a matter of National Memory and National Identity, it is also a matter of the sources of cultural creativity. L'Europe de nations may have been the theatre of endless national wars but it was also the cradle of a very rich mosaic of national cultures. The point is: how will creative genius adapt to the two new trends - European Unification and Globalism? This volume brings together essays by leading scholars in a myriad of disciplines, all of which attempt to shed light on these issues.Contributions by:Nicholas Perdikis, Shari L. Boyd, William A Kerr, Sylvia MacPhee, Marcela Cristi, Anu Randveer, Martti Randveer, Viljar Jaamu, Vello Vensel, Anatoly Zotov, Warren Breckman, Douglas Moggach, Malgorzata Bogunia-Borowska, Alexandros Kioupkiolis, Eric W. Ruckh, Avron Kulak, Kevin P. Spicer, Bernard Zelechow, Dorothy M. Betz, Robert Stanley, Rosemary Gray, Jean-Francois Thibault, John Danvers, Ewa Macura, William A. Everett, Armand Singer, Daniel Meyer-Dinkgrafe