Successful theatrical productions are a team effort and require the close cooperation of the playwright, producer, director, designers, and actors. The group responsible for selecting a play and the style of its production must first reach a consensus on their reason for being and their rationale for approaching an audience. The goals and modes of production are constantly evolving, requiring theatre personnel to be constantly conversant with shifts in the functions of members of theatre teams, in forms and styles of drama, and in techniques of staging. This book stresses the need for collaboration and communication among the members of the theatre team during the moving of a script toward its audience.

Though evolution in the roles of producer, playwright, and director has been neither uniform nor evenly paced, this book demonstrates that change itself provides theatre teams openings for inspiration and creation. Through examples of production successes and failures of eminent plays since mid-century, and through discussions of specific interaction or lack of it among those who produced and directed the plays, this volume stresses clearly delegated authority and responsibility of production roles. Full-scale interaction is vital as the members of the theatre team interpret, rehearse, and perform a play. This book also includes sections on the different production circumstances encountered by theatre teams of various levels and excerpts from interviews with theatre professionals.

Giving equal space to the sanctity of script and the artistic freedom of directors, this book addresses the difficulties encountered by playwrights and directors as they bring a script to the stage. Inspired directors can help a writer of genius turn his play into exciting theatre, but playwrights find that giving directors leeway to interpret and modify text can result in directors' overriding authorial intentions. This book presents the best that has been written by literary theorists on the current definitions of text and attempts to depart from quick rule-of-thumb assessments of the problem.

Drawing from definitive articles in literary and theatre journals, part one gives the reader basic concepts and terminology. Interviews with playwrights and directors, showing the complexity of the issue, appear in part two, and part three includes case studies of playwrights and directors who faced production crises. Legal aspects of collaboration are considered in part four. The book concludes with a positive approach and possible solution to the problem.