What does it matter what we read? The question of the materiality of the book has surprising consequences when applied to dramatic writing, where the bookish qualities of dramatic literature, qualities emphasised by the dominion of print culture, have always seemed antagonistic to plays' other life on the stage. In Print and the Poetics of Modern Drama, W. B. Worthen asks how the print form of drama bears on how we understand its dual identity - as play texts and in performance. Beginning with the most salient modern critique of printed drama - arising in the field of Shakespeare editing - Worthen then looks at the ways playwrights and performance artists from George Bernard Shaw and Gertrude Stein to Harold Pinter, Samuel Beckett, Anna Deavere Smith and Sarah Kane stage the poetics of modern drama in the poetics of the page.

Shakespeare and the Force of Modern Performance asks a central theoretical question in the study of drama: What is the relationship between the dramatic text and the meanings of performance? W.B. Worthen argues that the text cannot govern the force of its performance. Instead, the text becomes significant only as embodied in the changing conventions of its performance. Worthen explores this understanding of dramatic performativity by interrogating several contemporary sites of Shakespeare production. The book includes detailed discussions of recent films and stage productions, and sets Shakespeare performance alongside other works of contemporary drama and theatre.

Taking a 'performance studies' perspective on Shakespearean theatre, W. B. Worthen argues that the theatrical event represents less an inquiry into the presumed meanings of the text than an effort to frame performance as a vehicle of cultural critique. Using contemporary performances as test cases, Worthen explores the interfaces between the origins of Shakespeare's writing as literature and as theatre, the modes of engagement with Shakespeare's plays for readers and spectators, and the function of changing performance technologies on our knowledge of Shakespeare. This book not only provides the material for performance analysis, but places important contemporary Shakespeare productions in dialogue with three influential areas of critical discourse: texts and authorship, the function of character in cognitive theatre studies, and the representation of theatre and performing in the digital humanities. This book will be vital reading for scholars and advanced students of Shakespeare and of Performance Studies.

This urgent and provocative study explores contemporary Shakespeare performance to bring a sense of theatre as technology into view. Rather than merely using technologies, the theatre's distinctively intermedial character is essential to its complex technicity; the changing function of gesture and costume, of written documents in the making of performance, of light and sound, and of the interplay of live and recorded acting complicate the sense of theatre as a medium. In a series of probing discussions, Worthen interrogates the interaction of live and mediated acting onstage, the impact of written media from the handwritten scroll to the small-screen app in acting as a techne, the work of Original Practices as an interactive modern theatre technology, the economies of theatrical immersion, and the consequences of an emerging algorithmic theatre, providing a richly theoretical reading of the stakes of theatre as an always-emerging technology.

What does it matter what we read? The question of the materiality of the book has surprising consequences when applied to dramatic writing, where the bookish qualities of dramatic literature, qualities emphasised by the dominion of print culture, have always seemed antagonistic to plays' other life on the stage. In Print and the Poetics of Modern Drama, W. B. Worthen asks how the print form of drama bears on how we understand its dual identity - as play texts and in performance. Beginning with the most salient modern critique of printed drama - arising in the field of Shakespeare editing - Worthen then looks at the ways playwrights and performance artists from George Bernard Shaw and Gertrude Stein to Harold Pinter, Samuel Beckett, Anna Deavere Smith and Sarah Kane stage the poetics of modern drama in the poetics of the page.

Taking a 'performance studies' perspective on Shakespearean theatre, W. B. Worthen argues that the theatrical event represents less an inquiry into the presumed meanings of the text than an effort to frame performance as a vehicle of cultural critique. Using contemporary performances as test cases, Worthen explores the interfaces between the origins of Shakespeare's writing as literature and as theatre, the modes of engagement with Shakespeare's plays for readers and spectators, and the function of changing performance technologies on our knowledge of Shakespeare. This book not only provides the material for performance analysis, but places important contemporary Shakespeare productions in dialogue with three influential areas of critical discourse: texts and authorship, the function of character in cognitive theatre studies, and the representation of theatre and performing in the digital humanities. This book will be vital reading for scholars and advanced students of Shakespeare, and of performance studies.

Shakespeare and the Force of Modern Performance asks a central theoretical question in the study of drama: What is the relationship between the dramatic text and the meanings of performance? W.B. Worthen argues that the text cannot govern the force of its performance. Instead, the text becomes significant only as embodied in the changing conventions of its performance. Worthen explores this understanding of dramatic performativity by interrogating several contemporary sites of Shakespeare production. The book includes detailed discussions of recent films and stage productions, and sets Shakespeare performance alongside other works of contemporary drama and theatre.

In a series of essays, several of the most significant figures in the field present a wide-ranging interrogation of the practice of theatre history studies at the present time, raising questions of history and historiography; the bearing of national, sexual, and racial identity on the canons of theatre history; the limits of print and the history of non-textual forms of performance; the intersections between theatre and other forms of commodification; and even the work of performance at the borders of the human.

This urgent and provocative study explores contemporary Shakespeare performance to bring a sense of theatre as technology into view. Rather than merely using technologies, the theatre's distinctively intermedial character is essential to its complex technicity; the changing function of gesture and costume, of written documents in the making of performance, of light and sound, and of the interplay of live and recorded acting complicate the sense of theatre as a medium. In a series of probing discussions, Worthen interrogates the interaction of live and mediated acting onstage, the impact of written media from the handwritten scroll to the small-screen app in acting as a techne, the work of Original Practices as an interactive modern theatre technology, the economies of theatrical immersion, and the consequences of an emerging algorithmic theatre, providing a richly theoretical reading of the stakes of theatre as an always-emerging technology.

An engaging book spanning the fields of drama, literary criticism, genre, and performance studies, "Drama: Between Poetry and Performance" teaches students how to read drama by exploring the threshold between text and performance.

Draws on examples from major playwrights including Shakespeare, Ibsen, Beckett, and ParksExplores the critical terms and controversies that animate the performance and study of drama, such as the status of language, the function of character and plot, and uses of writingEngages in a theoretical, disciplinary, and cultural repositioning of drama, by exploring and contesting its position at the threshold between text and performance

The history of drama is typically viewed as a series of inert "styles." Tracing British and American stage drama from the 1880s onward, W. B. Worthen instead sees drama as the interplay of text, stage production, and audience. How are audiences manipulated? What makes drama meaningful? Worthen identifies three rhetorical strategies that distinguish an O'Neill play from a Yeats, or these two from a Brecht. Where realistic theater relies on the "natural" qualities of the stage scene, poetic theater uses the poet's word, the text, to control performance. Modern political theater, by contrast, openly places the audience at the center of its rhetorical designs, and the drama of the postwar period is shown to develop a range of post-Brechtian practices that make the audience the subject of the play. Worthen's book deserves the attention of any literary critic or serious theatergoer interested in the relationship between modern drama and the spectator.

Theatre, like other subjects in the humanities, has recently undergone quintessential changes in theory, approach, and research. "Modern Drama" - a collection of twelve essays from leading theatre and drama scholars - investigates the contemporary meanings and the cultural and political resonances of the terms inherent in the concepts of 'modern' and 'drama, ' delving into a range of theoretical questions on the history of modernism, modernity, postmodernism, and postmodernity as they have intersected with the shifting histories of drama, theatre, and performance. Using incisive analyses of both modern and postmodern plays, the contributors examine varied topics such as the analysis of periodicity; the articulation of social, political, and cultural production in theatre; the re-evaluation of texts, performances, and canons; and demonstrations of how interdisciplinarity inflects theatre and its practice.

Including work by Sue-Ellen Case, Elin Diamond, Harry J. Elam Jr, Alan Filewod, Erika Fischer-Lichte, Stanton B. Garner Jr, Shannon Jackson, Loren Kruger, Josephine Lee, David Savran, Michael Sidnell, and Ann Wilson, the collection highlights the importance of continuing to investigate not only critical texts but also the terms of the debate themselves. Incorporating both drama history and modern studies, this compilation will be an invaluable work to all scholars of theatre and drama, and as well as those students of the humanities and modernism.