Note: References to notes are in italics with the following the letter ‘n,’ e.g. ix n2, 29 n25.
actors 2–3, 5, 8–9, 12–14, 21; emotion 128–9; ethics 113–23; history plays 76; imitation/imagination 25, 30–1, 36–7, 40–3; morality 108; political theatre 175, 177, 182–3, 186, 189; truth/illusion 52, 59, 61–3, 68
Aegae Theatre 175
Aelianus, Claudius ix n2
Aeschylus 29 n25, 31, 75–7, 78 n13, 79, 87–8, 89 n47, 172–3
Aesop 108
Agathon 27
Agnes Bernauer 107
AIDS plays 166
D'Alembert, J. 101–2, 101 n3–4, 102 n5, 104–6, 113–15, 171
Alexander the Great 175
alienation effect 183
An Enemy of the People 64
Ancient Greece ix–x, 1, 6, 23–4, 31,41, 47; history 75–6, 78, 82–3, 89; morality 105, 114; political theatre 162, 167–8, 171, 174–5, 177–8, 182; truth/illusion 47, 67–70
applied theatre 166
archaeology 81
Aristophanes ix, xii, 27, 75, 76 n6, 167–8
Aristotle x–xi, xii, 14–15; catharsis 33, 129–30, 144–5, 149–55; emotions 129–30, 138, 144, 149–56; history 79–80, 90–1; mimesis 21, 32–5, 39, 41–3; morality 102, 104, 106, 112, 114, 119; politics 169, 171, 178–9; truth/illusion 52–4, 52 n25, 53 n30, 68–9
art, definitions 129
art theatre 5
art theory 185
assassination 175
Athenian theatre ix–x, 30–1, 47, 75–6, 168, 171–4
audience 2–3, 7–8, 25–6, 31–2, 34–40 see also spectators; emotion 128, 131, 142; history 85, 87–9; morality 105–6, 108, 114, 117, 123; political theatre 162, 165–8, 170, 173, 175–7, 179, 181–8; truth/illusion 48, 51, 55–6, 58, 60–1, 63, 65–7
avant-garde theatre 2
Balme, C. xii, 3, 5, 16, 152 n61–2
Barish, J. xiii, 26 n12, 28, 43, 47 n3, 117 n70, 124
Barthes, R. 80 n20
BBC 9
Beaumarchais, P.A. 170
Beckett, S. 50 n11
Benjamin, W. 8
Bentley, E. 4, 6, 162 n4, 167 n11, 188–9
Blanning, T. 89 n49
Blue Blouse troupes 166
Boal, A. 55 n35
Brecht, B. 4, 14 n30, 56 n36, 66, 93 n58, 161 n3, 176 n25, 178–89
Büchner, G. 78, 90–3, 90 n51, 91 n55, 94–5, 111
Burden, C. 177
Butterworth, C. 9
Carlson, M. xii, 105 n17–18, 113 n48, 116 n64, 121 n78, 141 n28, 167 n10
Carroll, N. 80 n21
Cartledge, P. 168 n12, 173 n16
catharsis 33, 129–30, 144–5, 149–50, 166, 171; meaning 151; as purging 151–4; as purification 154–5
The Caucasian Chalk Circle 188
characters 1–2, 11–12, 14, 30, 36; emotion 128–32, 135–6, 141, 146–8, 156; history 76, 78, 82, 84, 86, 92, 95; mimesis 42; morality 108–9, 112, 114, 116–17, 122; political theatre 177, 180–3, 186; truth/illusion 49, 52–3, 61–2, 69
Chekhov, A. 128, 128 n1, 130–1, 142, 153, 175–6
Christianity 32, 105–6, 111, 113
Chrysippus 110
Churchill, C. 9, 77 n7, 160–1, 165, 168–9, 172, 176
Cicero 175
Cold War 176
collective action see politics
Collingwood, R. 94
comedy 27, 63, 75, 116, 167, 174
communism 188
compensation 144
Confessions of Felix Krull 59
conservatism 187
conventions 22, 30, 36 n44, 59, 120–1
counterfactual plays 79, 82, 188
Craig, E.G. 116
critics 13, 15, 55, 114, 150, 170, 189
Critique of the Power of Judgement 37
Cuban missile crisis 163
Danto, A. 89 n48
Danton's Death 5, 66, 84, 90–1, 111
Democracy 78
The Depressed Person 166
desire 67
dialectical materialism 184
dialogue form x
Diamond, C. 108
didacticism 187
Diderot, D. xi, 31, 101, 101 n2, 107 n26, 114–15, 119–23
directors 1–2, 13–14, 16, 81, 95, 165
disentrancement 63
drama 10–11, 32 n31, 34–5, 79, 82, 84–5
dramaturges 63
economy 75
Either/Or 48
ekklesia 174
The Elephant Man 62
Else, G. 149 n44
Elsom, J. 176, 176 n25; 27, 188
emotion 106, 108–11, 119–23, 166, 178–9; morality 108–11, 119–23, 146–7; nature 147–8; political theatre 186, 189; role 128–59
emotional responses to fiction 130–8
empathy 179–81, 183–4, 186–7, 189
Emperor and Galilean 84
epic poetry/drama 11, 24, 33, 68, 82, 181–4, 186–8
ethics xi, 7, 82–3, 101–2, 113–23, 146–7, 155
Euripides ix
event, theatre as 177
Feagin, S. 108 n27, 139 n22, 146–7, 146 n37–8
fictionality 80–1, 87, 91, 107, 109; emotion 130–8, 148, 153, 156
Frayn, M. 62, 77 n7, 78, 96, 112, 112 n43
French Revolution 82, 85, 91–2
Friend, S. 139 n22, 146 n39, 156
Georg II, Duke of Saxe-Meiningen 81, 84
The Glass Menagerie 78
Globe Theatre 2
government 162–4, 173 n17, 176
Greek language 2, 10, 151, 167–8
Grotowski, J. 5
Guardian 161
Halliwell, S. 21 n1, 25 n9, 27 n14, 29 n24, 33 n32, 43–4, 47 n4, 149 n46, 150 n47;49;54, 151 n56–8, 154 n66, 155 n75, 156
Halpern, R. 162 n4, 174 n18, 175 n20, 177 n30, 190
Hamilton, C. 107 n24, 110 n33, 111 n38
Hamilton, J. xiii, 3 n1, 12 n27, 15, 56 n36, 58 n43, 59 n44, 63 n48, 71, 188 n57
Hamlet 3, 6–7, 11–13, 15–16, 34, 49–51, 52 n23, 54, 77, 131
happenings 4
Heath, M. 44, 150 n53, 153 n63, 154 n66
hedonism 143
Hegel, G.W.F. xi, 32, 82 n28, 87, 130, 171, 185, 186 n52; interpretation of Antigone 82–3
hegemony 15
Henry VIII 163
Herodotus 75, 76 n5, 79–80, 80 n17, 87
historians 10, 75–6, 78–9, 81–2, 87, 89–92, 94–6
The Historical Novel 82–4, 83 n31
history plays 75–96; as history 81–95; not as history 86–95
Hobbes, T. 89–90, 90 n50, 140–2
Holinshed, R. 122
Holocaust 169
house lights 181
Hume, D. xi, 37–8, 111 n38, 138–9, 156
Ibsen, H. 9, 51, 64, 64 n52, 76, 84, 113, 129, 147, 167
illusion 47–8, 55–7, 105, 135, 181, 183, 186, 188; illusionist's 59–63; sensory 58–9; the spell 63–6; as truth 66–70
imitation xi, 21, 24–35, 40–3, 91, 182
industrial revolution 82
Jacobson, D. 55 n33, 109 n32, 111 n38, 113 n50
Jameson, F. 190
Janaway, C. 67 n64
Janko, R. 33 n32, 149 n45, 150 n50, 152 n60
Jesuits 105
Jones, I. 175
Julius Caesar 76–85, 87, 89, 94–5
Kaprow, A. 4
Kierkegaard, S. 48
King Lear 42, 84, 86, 106–7, 111
Kottman, P. 76 n5, 190, 190 n4
Laertius, Diogenes ix n2, 110 n36
Lamarque, P. 37 n45, 39 n47, 49 n9, 50 n13, 71, 81 n23
Lamb, C. 14
Lawrence, D.H. 154 n69
Lear, J. 27 n16, 154 n66;68, 155 n75, 156
Lecouvreur, A. 121
left-wing political theatre 165
legislation 162
Lehrstücke 4
Lennard, J. 5 n11, 15 n33, 16, 140 n24, 152 n62, 166 n9, 175 n22, 177 n33
Lessing, G. xi, 14, 30, 31 n29, 52, 52 n25, 56 n36, 63 n51, 64, 64 n53, 105, 113, 116, 121 n78, 150 n48;50
Levinson, J. 124
lighting 2, 7, 13, 58, 61, 66, 176, 181, 184
Lincoln, A. 175
lines of business 52
literature 50, 52 n23, 81, 85, 112, 176; dramatic 12–13, 15
Luckhurst, M. 5 n11, 15 n33, 16, 140 n24, 152 n62, 166 n9, 175 n22, 177 n33
Lukács, G. 82–6, 82 n25–7, 83 n30, 93, 96, 190
Machiavelli, N. xi
make-believe 37, 39–41, 43, 80, 132–5, 138
Marathon, Battle of 75
marionette theatre 62
The Marriage of Figaro 170
Mason, J. 124
McCollom, W. 63 n50, 65, 65 n58
Measure for Measure 113 n48
mediaeval theatre 2, 78, 105, 114
memory plays 78
Meno 171
The Merchant of Venice 118
metaphysics 12, 22, 25–6, 28–9, 31–2, 47, 67, 67 n67, 69–70
Middle East 161
A Midsummer Night's Dream 167
Milton, J. 112
mime theatre 2
mimesis 4, 43–6, 76, 88, 104, 114, 116, 133, 150, 169, 177, 182; Aristotle on 32–5; and imagination 35–43; as imitation 24–35; meanings 21–4; Plato on 23–32
Mimesis as Make-Believe 40
miracle plays 78
Molière 111
Montesquieu, Baron 101
morality 101–27, 146–7, 168–71; becoming the character 116–17; craft 119–23; deception and inauthenticity 118–19; emotion 108–11, 119–23; ethics of the actor 113–23; immediacy 106–8; justice 111–13; pleasure and entertainment 102–5; politics 168–71; school of morals 105–13
Moss, J. 23 n3, 26 n10, 12, 43
The Mother 188
Mumford, M. 188 n57
narrators 182
narrow-sense politics 161–5, 167, 169, 174
National Theatre 62
Nehamas, A. 23 n3, 28 n20, 29, 31 n27, 117 n69, 149 n44–5, 150 n54–5, 153 n63, 155 n72, 156
Neill, A. 135 n15, 139 n23, 143 n32, 149 n42, 156
Nichomachean Ethics 102, 154 n65, 155 n70
Nietzsche, F. xi, xiii, 14, 31 n28, 55, 66–70, 78, 109 n30, 140, 153 n64, 163–4
noble lie 27
non-dramatic theatre 11
non-propositional learning 54–5
Norton-Taylor, R. 92 n56
Nussbaum, M. 108 n29, 155 n71;73
Oedipus 36, 40, 51, 53, 67, 80 n19, 142, 180–1, 183–4
Oedipus at Colonus 67
Oedipus Tyrannus 50–4, 67, 112, 142, 145, 147, 168, 179
Old Oligarch 174
Olivier, L. 3
Olsen, S. 37 n45, 39 n47, 49 n9, 50 n13, 71, 81 n23
optical illusions 57–8, 60, 62–3
Osborne, J. 10
Our American Cousin 175
pageant plays 105
Paradise Lost 112
The Paradox of Acting 114, 119, 121
performance 6, 11–16, 36–7, 40, 49; emotion 129, 132, 134–6, 138, 142, 148; history 76, 80; political theatre 164–9, 173–7, 183–4, 187–9; truth/illusion 55, 61, 66, 70
performance art 177
Performance Studies 5
Philip II of Macedon 175
Phrynikos 76 n5
Pinkard, T. 83 n29
Pinter, H. 10
Pirandello 136 n10
Piscator, E. 161
Plato ix–xi, ix n1, xii, xiii, 4, 21, 23–36, 40–1, 43, 47–8, 65, 70, 79, 88, 109–10, 114, 116–17, 120–3, 130, 138, 150, 169–72, 182, 187 n54, 189
play text see text
playwrights 7, 9, 14, 27, 29; history 75–8, 81–2, 86, 88, 90, 92, 94–5; mimesis 32–5; morality 101, 105, 107, 112, 120; political theatre 161, 165, 167–72, 174, 178, 180, 185, 187; truth/illusion 51, 53, 62
plots 1–2, 14, 49, 67–9, 83, 114, 147, 181
Plutarch 50, 78, 85, 89–90, 90 n50, 108, 110
poetic justice 111
Poetics x, 32–4, 39 n50, 52 n24, 79 n14–15, 104, 114 n55–6, 129 n4, 149–52, 149 n43, 179
political philosophy 163–4, 178, 185–6
The Political Theatre 161
politics xi, 105, 160–92; access 175–7; Brecht 178–89; broad/narrow-sense 161–5, 167, 169, 174; event 177; location 174–5; in performance 164–8, 174–7; political philosophy 163–4; public expression 175–7; questions and imperatives 171–4; statements and morals 168–71; in text 164–74
pomography 112
Pompey the Great 175
postdramatic theatre 11
posterity 165
producers 14
props 59
Prynn the Puritan 115
psychology 65, 110, 133, 141, 149 n42, 153
public sphere 161
Puchner, M. ix n2, xiii, 27 n13, 47 n5, 110, 110 n37
puppet theatre 3
Pushkin, A. 76, 78, 84, 88, 88 n45
Radford, C. 131
radio plays 2
relation to other art forms xii
representation xi, 59, 84, 122
The Republic 23–4, 26–35, 34 n40, 36 n42, 40 n53, 110 n34, 116–17, 170–1
rhetoric/rhetoricians 55, 63, 93
robot theatre 3
Rokem, F. xiii, 27–8, 43, 91 n54, 96
role-play 166
Romeo and Juliet 11, 86 n43, 112
Rosmersholm 147
Rousseau, J.-J. xi, xiii, 55, 66, 66 n61, 101, 101 n2, 103–7, 110, 112, 112 n42, 114–15, 114 n57, 117–19, 121–3, 122 n85, 146, 171
Russian Revolution 166, 184, 187
Ryle, G. 78 n11
Salamis, Battle of 75, 78–9, 87–8
Sartre, Jean-Paul xi, 39 n47–8, 41 n55
scenery 1–2, 7, 85, 105–7, 111
Schiller, F. xi, 66–7, 85, 86 n43, 101 n2, 105–7, 106 n23, 111, 112 n45
Schopenhauer, A. 67–8, 67 n64–5;67, 70
seating arrangements 174
Sermon on the Mount 106
Servandoni, G.N. 3
sets/set design 2, 31, 58–9, 63, 175
Seven Jewish Children: A Play for Gaza 160, 165, 169, 172
sexism 115
Shakespeare, W. xiii, 7, 12–14, 30, 39, 76, 113 n48; history 78, 80, 84–6, 88; morality 112–13, 118, 122; political theatre 174, 176–7, 185
Shaw, G.B. 167
Shelley, J. 53 n31, 144–6, 144 n33, 156
Shoot 177
slaves 177
Snowdon, P. 55 n32
socialism 185
Socrates ix–x, 23–5, 27–8, 29 n24, 70, 75, 76 n6, 116, 171
Solon 47
sophists 47
Sophocles 14 n30, 50 n17, 67 n66, 75, 80 n19, 82, 142, 146
sound engineers 13
Sparshott, F. 56
spectators 2–3, 5–8, 10, 15, 25; emotion 143, 148–50, 153, 155; history 75, 78, 89–90; political theatre 161–2, 167, 172–5, 177, 179, 181, 183, 185–6, 188–9; truth/illusion 59, 61, 63
stage 2, 7, 31, 40, 51; directions 12; magicians 59–63; political theatre 181; truth/illusion 59, 61, 63
Stendhal 56, 56 n36, 63 n50, 64–5, 135–6, 138
Stoicism 110
storytelling modes 182, 184, 186
Stratford Festival Company 10
street theatre 3
Suetonius 78
suffering 139–41, 155, 179–80, 184
suicide 67
Sunday Times 161
Tarantino, Q. 9
Taylor, T 175
text 1–2, 9, 11–16, 26, 51; political theatre 160, 164–74, 176, 189, 1177; truth/illusion 67, 69
text-performance relations 11–16
Thales ix
The Boy Who Cried Wolf 108
theatre 3, 12–18, 21–46 see also audience; broad/narrow-sense 8–10; buildings 2; comparison with drama 10–11; definitions 1, 4–7; emotion 128–59; historians 10; history 75–98; mimesis 21–46; morality 101–27; and other art forms 7–11; politics 160–92; of the scientific age 181, 184–6; as training 166; truth/illusion 47–74; typical elements 1–4
The Theatre and its Double 47
Theatre of Dionysus 2, 174, 177
theatron 2
theory of forms 24–6, 28–9, 31–3, 35, 48
therapeutic theatre 166
tragedy 14–15, 24, 27, 30, 32, 177, 180, 182; definitions 33, 129–30, 149–50; history 75–6, 78–9, 85; morality 107–8, 114, 116, 118; paradox 138–49; truth/illusion 47, 52, 63–5, 67–70
Tricycle Theatre 92
truth xi, 47, 76, 105, 145–6, 179–81, 186; and content 48–55; illusion as 66–70; implicit 51–4
Uncle Vanya 64, 109, 128, 131–2, 134; emotion 138, 142, 146, 153
unities of time and place 29–30, 63
universals 33–5, 52–4, 79–80, 106, 170, 179–81, 186
untruth 48 n7
Varia Historia ix n2
ventriloquism 176
verisimilitude 29–33, 88, 109, 120
Virgil 89
vocal emphasis 176
voyeurism 148
Wallace, D.F. 166
Wallenstein 66
Walton, K, 40, 40 n52, 43 n57, 44, 50 n18, 71, 80 n19, 81 n22, 133–5, 133 n12, 147–8, 156
West End 174
Western tradition 11–12, 31, 76–7, 84, 162
Widowers' Houses 167
Williams, B. 109 n30
Williams, G.J. xii
Williams, T. 78
Wissenschaft 184
Woodruff, P. xiii, 5–7, 15 n33, 16, 26 n11, 33 n32;35, 36 n43, 40 n53, 43–4, 43 n57, 108 n27;29, 133 n11, 134 n13, 142 n30, 179 n38
Woyzeck 78
Xenophon ix n1
Ziolkowski, T. 14 n31, 173 n17