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Dictionary of the Theatre by Patrice Pavis; Christine Shantz (Translator)Patrice Pavis is one of France's most brilliant academics and a leading expert internationally in the theory of theatre. Dictionary of the Theatre is an English translation of Pavis's acclaimed Dictionnaire du theatre, now in its second printing in France.This encyclopedic dictionary includes theoretical, technical, and semiotic terms and concepts. Alphabetical entries range from 'absurd' to 'word scenery' and treat the reader to a vast panoply of theatre and theory. The extended discussions are supported by useful examples drawn from the international repertoire of plays and playwrights, both classic and contemporary. The Foreword is by Marvin Carlson.This dictionary is remarkably well integrated, partly because of its excellent system of cross-referencing, but also because it represents the vision and scholarship of a single, recognized authority. There is no other source like it available and it will be warmly welcomed by the English-language theatre world."
Publication Date: 1999-01-01
A Student Guide to Play Analysis by David RushWith the skills of a playwright, the vision of a producer, and the wisdom of an experienced teacher, David Rush offers a fresh and innovative guide to interpreting drama in "A Student Guide to Play Analysis," the first undergraduate teaching tool to address postmodern drama in addition to classic and modern. Covering a wide gamut of texts and genres, this far-reaching and user-friendly volume is easily paired with most anthologies of plays and is accessible even to those without a literary background. Contending that there are no right or wrong answers in play analysis, Rush emphasizes the importance of students developing insights of their own. The process is twofold: understand the critical terms that are used to define various parts and then apply these to a particular play. Rush clarifies the concepts of plot, character, and language, advancing Aristotle's concept of the Four Causes as a method for approaching a play through various critical windows. He describes the essential difference between a story and a play, outlines four ways of looking at plays, and then takes up the typical structural devices of a well-made play, four primary genres and their hybrids, and numerous styles, from expressionism to postmodernism. For each subject, he defines critical norms and analyzes plays common to the canon. "A Student Guide to Play Analysis" draws on thoughtful examinations of such dramas as "The Cherry Orchard, The Good Woman of Setzuan, Fences, The Little Foxes, A Doll House, The Glass Menagerie, "and" The Emperor Jones." Each chapter ends with a list of questions that will guide students in further study.