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Abel, Lionel, Metatheatre (New York, Hill & Wang, 1963). Bas, Georges, 'Orphee et Eurydice dans The Sea d'Edward Bond', Etudes
Anglaises, 33, 1980, pp. 171-82. -- , 'TheAtre, histoire et politique dans une piece radiophonique: Pearl
(1978) de John Arden et Ia question irlandaise', Etudes Anglaises,39, 1986, pp. 424-37.
Blau, Herbert, To All Appearances: Ideology and Perfonnance (London & New York: Routledge, 1992).
Boireau, Nicole, 'Jeux et enjeux dans les pieces en un acte de James Saunders', Coup de Thilitre, 13, 1994, pp. 67-87.
Cohn, Ruby, Retreats from Realism in Recent English Drama (Cambridge University Press, 1991).
--,Anglo-American Interplay in Recent Drama (Cambridge University Press, 1995).
Dallenbach, Lucien, Le recit speculaire: Essai sur Ia mise en abyme (Paris: Seuil, 1977).
Egan, Robert, Drama within Drama: Shakespeare's Sense of His Art in King Lear, The Winter's Tale and The Tempest (New York: Columbia University Press, 1975).
Essif, Les, 'Introducing the "Hyper" Theatrical Subject: The Mise en Abyme of Empty Space', Journal of Dramatic Theory and Criticism, 9, 1994, pp. 67-87.
Forestier, Georges, Le thllitre dans le theatre sur Ia scene fran,aise du XVIIe siecle (Geneve: Droz, 1981).
Genette, Gerard, Palimpsestes (Paris: Seuil, 1982). Hallyn, Fernand, Onze etudes sur Ia mise en abyme - Romanica Gandensia
(Gent, Belgique, 1980). Homan, Sidney, When the Theater Turns to Itself: The Aesthetic Metaphor in
Shakespeare (London & Toronto: Associated University Press, 1981). Homan, Sidney, The Audience as Actor and Character: The Modern Theater
of Beckett, Brecht, Genet, Ionesco, Pinter, Stoppard and Williams (London & Toronto: Associated University Press, 1989).
Hornby, Richard, Drama, Metadrama, and Perception (London & Toronto: Bucknell University Press, 1986).
Hutcheon, Linda, Narcissistic Narrative: The Metafictional Paradox (Wilfrid Laurier University Press, 1980).
-,A Theory of Parody (London: Methuen, 1985). --, A Poetics of Postmodernism: History, Theory, Fiction (London: Routledge,
1988). Issacharoff, Michael, 'Inscribed Performance', Rivista Di Letterature Moderne
E Comparate, 39, Fasc. 2, 1986, pp. 93-105. --, 'Labiche et l'intertextualite comique', Cahiers de I' Association Interna
tionale des Etudes Fran,aises, 35, 1983, pp. 169-82.
246
Select Bibliography 247
Landow, George P., Hypertext: The Convergence of Contemporary Critical Theory and Technology (Baltimore & London: Johns Hopkins University Press, 1992).
Levy, Shimon, Samuel Beckett's Self-Referential Drama: The Three I's (London: Macmillan, 1990).
Ogee, Frederic et Rouyer, Marie-Claire, R. B. Sheridan: The Critic (Paris: Didier Erudition, 1995).
Pavis, Patrice, Le theatre au croisement des cultures (Paris: Corti, 1990). Ricardou, Jean, Nouveaux probl~mes du roman (Paris: Seuil, 1978). Rouyer, Marie-Claire, 'Identite et identification dans quelques exemples
de theAtre dans le theAtre: de Ia comedie classique emboitee au "oneman-show"', Cahiers du CERT, 6, 1979, pp. 68-98.
Schmelling, Manfred, Metatheiitre et intertexte: Aspects du theiitre dans le theiitre (Paris: Lettres Modernes, 1982).
Schlueter, June, Metafictional Characters in Modern Drama (New York: Columbia University Press, 1979).
Sommi (de'), Leone, Quatre Dialogues en Matiere de Representations Thet2trales (Paris: Rampazzio & Associc~s, 1992).
'Theatre on Theatre', a special issue of Modern Drama, 30, March 1987. Todorov, Tzvetan, Poetique de la prose (Paris: Seuil, 1971). Tornqvist, Egil, Transposing Drama: Studies in Representation (London:
Macmillan, 1991). Vanden Heuvel, Michael, Performing Drama/Dramatizing Performance: Alter
native Theater and the Dramatic Text (Ann Arbor: The University of Michigan Press, 1991).
--, 'Complementary Spaces: Realism, Performance and a New Dialogics of Theatre', Theatre Journal, 44, 1992, pp. 47-58.
Wilshire, Bruce, Role Playing and Identity: The Limits of Theatre as Metaphor (Bloomington: Indiana University Press, 1982).
Wilson Ann, 'Fool of Desire: The Spectator to the Plays of Sam Shepard', Modern Drama, 30, 1987, pp. 46-57.
Index
actor, xiii, 40, 128, 140, 178, 196, 205, 243
adaptation, xiii, xiv, 15, 30, 48, 52, 136, 137, 203, 217, 221-5
Addison, Joseph, 235 AIDS culture, 200 Akuwudike, Jude, 126 alienation effect, 9, 156, 158
see also Brechtian, distance, V-Effekt
allegory, 173 ambiguity, 36, 37, 138 anachronisms, 65, 125 Andrews Sisters, The, 234 Annie Get Your Gun, 244n appropriation, 59 architextuality, 108 Arden, John, 15, 16, 17, 18, 19, 22,
24 Armstrong's lAst Goodnight, 19,
22, 23, 24 The Business of Good Government,
15, 17 The Island of the Mighty, 23, 24 The Non-Stop Connolly Show, 18,
22, 23, 24 Serjeant Musgrave's Dance, 22 Squire Jonathan, 18 Vandaleur' s Folly, 22 The Workhouse Donkey, 18
Aristophanes, 27 The Birds, 27 The Frogs, 27
Aristotle, 32, 52, 106n, 150n Aristotelian, 9, 13, 31, 40, 46,
103, 144, 146, 175 Armstrong, Louis, 234 Artaud, Antonin, 64, 67 audience, 3, 6, 17, 36, 37, 39, 41,
44, 46, 52, 83, 95, 98, 103, 108, 111, 114, 115, 118, 121, 125, 126, 128, 129, 130, 131, 135n, 153, 154, 157, 159, 161, 166,
172, 177, 182, 187, 193, 194, 197, 198, 199, 201, 202, 204, 206, 207, 212, 232, 233, 234, 243
see also spectator Austen, Jane, 80
Babel, Isaak, 216 Marya, 216
Baez, Joan, 179 Bakhtin, Mikhail, 108, 185 Bandiera Rosa, 179 Barker, Howard, 15, 16, 20, 31, 34,
35, 36, 37, 38, 52, 53, 59-71, 115, 121
The Castle, 15 The Last Supper, 15, 16, 20 The Love of a Good Man, 121 Women Beware Women, 59-71
Barker, Pat, 199, 209, 210 Blow Your House Down, 199,
207-10, 211 Barnes, Peter, 15, 20, 23, 24, 26
Cats, 20 Noonday Demons, 24 Red Noses, 15, 23, 26 The Ruling Class, 20
Barthes, Roland, 12, 173, 182 Bart6k, Bela, 174, 179 Beaumont, Francis, xiii
The Knight of the Burning Pestle, xiii Beckett, Samuel, xiv, 4, 20, 34,
91-107, 109, 119 Catastrophe, 102-3, 105n, 106n Eleutheria, 91-4, 95, 104n, 105n En attendant Godot, 94, 96 Endgame, 95-6 Footfalls, 98-9, 101, 105n Happy Days, 95-6 Human Wishes, 91, 94, 103, 104n Krapp's Last Tape, 105n Not I, 97-9, 104n, 105n Ohio Impromptu, 101-2, 104n
249
250 Index
Beckett, Samuel - continued A Piece of Monologue, 99-100,
105n Play, 96, 97, 98, 99, 105n Rocknby, 100-1, 105n That Time, 99 Waiting for Godot, 34, 95, 96, 104n Watt, 97
Beethoven, Ludwig van, 179 Behn, Aphra, 204
The Rover, 204, 213n Berkoff, Steven, 3, 6, 12, 13, 17
Greek, 3, 4, 6, 12 Lunch, 17
Berliner Ensemble, 15 Berman, Ed, 18 Bernstein, Leonard, 234, 243
Candide, 234 Big Sleep, The, 238 Bill, Stephen, 184
Heartlanders, 184, 185-7, 189, 191, 192, 193
Blakemore, Michael, 234, 240, 241 Bond, Edward, 3, 7, 8, 10, 13, 15,
16, 22, 26, 27, 72-88 The Bundle, 72, 73, 75-80, 83, 84,
85,86 Cat, 22 The Fool, 27 Jackets, 72, 74-82, 84, 85, 86 Narrow Road to the Deep North,
72, 76, 82, 83 Restoration, 22 We Come to the River, 22 The Woman, 3, 4, 7-10
Boucicault, Dion, 232 The Corsican Brothers, 232
Brecht, Bertolt, 5, 9, 10, 15, 20, 25, 28, 67, 172, 181
The Caucasian Chalk Circle, 76 Brechtian (device, dramaturgy), 15,
20-8, 64, 65, 156, 159, 161, 187, 188, 192
see also alienation, distance, V-Effekt
Brenton, Howard, 16, 19, 23, 31, 47, 48, 49, 50, 51, 52
Christie in Love, 23 Measure for Measure, 47
Scott of the Antarctic, 19 with David Hare, Pravda, 55n
Britten, Benjamin, 74 Broadbent, Jim, 126 Brook, Peter, 171, 173 Buckingham, George Villiers,
Duke of, 27 The Rehearsal, 27
Buddy, 232 Bunraku, 72, 86 burlesque, xiii, 9, 27 Bushido, 80, 87n Byron, George Gordon, Lord, 139,
142
Cabaret, 232 Call Me Madam, 235 Can-Can, 235 Carmen, 233 Carmen Jones, 232 carnival, 9, 13 Carr, 137, 138, 139, 141, 146, 148 Carroll, Lewis, 141, 217, 222, 223
Alice in Wonderland, 222, 223 Through the Looking Glass, 222
cartesian, 148, 175 Catastrophe, Theatre of, 36, 37, 62,
63, 64, 66, 67, 70n, 102 catharsis, 32, 52, 171, 181 Centre 42, 17 Chaplin, Charlie, 178 Chekhov, Anton, 135n
The Three Sisters, 135n Uncle Vanya, 217, 218
The Chocolate Soldier, 232 chorus, xiii, 130-2 Chorus Line, A, 235 Christie, Agatha, 139 Chu Chin Chow, 232 Churchill, Caryl, xiv, 16, 17,
152-67, 185, 187, 193, 199, 202, 207, 208, 209, 210
Cloud Nine, 152-61, 164, 166 Fen, 159, 161-6, 185, 187, 189,
191, 192, 193 Shreber's Nervous Illness, 17 Softcops, 152 Three More Sleepless Nights, 202 Top Girls, 199, 202-7, 209, 211
Index 251
circus, 94 city comedy, 38, 41, 42, 44 City of Angels, 234, 238-9, 240, 241,
243,244 Claudel, Paul, 84, 86, 87n clown, 147, 177, 178, 179 cognitivism, 54n, 146, 147 Coleman, Cy, 234 comedy, 4, 7, 30-2, 38-44, 45, 46,
50, 52, 53, 54n, 129, 134n, 140, 143, 145, 216, 225, 226, 228, 231, 241, 244
comedy of manners, 138 Congreve, William, 231 constructivism, 37, 54n contextualizing, 206 Crosby, Bing, 234 cross-fertilization, xiv, 191, 192 cross-gender (casting), 126-7 cultural (transformations), 30-53 culture, xiii, xv, 30, 31, 38, 41-5,
48, 52, 53, 54n, 143, 147
Damn Yankees, 239 Daniels, Sarah, 199, 207-10
Blow Your House Down, 199, 207-10, 211
deconstructive, 53 Deleuze, Gilles, 140, 150n Derrida, Jacques, 149n Descartes, Rene, 147 The Desert Song, 232 detective play, 139
see also thriller, whodunit devised theatre, 184-95 Devlin, Anne, 184
Heartlanders, 184, 185-7, 189, 191, 192, 193
dialogism, 108 discourse, 38, 53, 54n, 143, 144,
146 distance (distanciation), xii, xiv,
20-4, 67-8, 69, 142, 145, 174, 177, 180
see also alienation, V-Effekt Divina Project, 212n docu-drama, 180 double (doubling), 23, 121, 125,
139, 144, 145
dramatis personae, 41, 139 'drame bourgeois', 91
Eco, Umberto, 108 Edgar, David, 15, 17, 19, 21, 22,
26, 55n, 150n, 184, 191, 192 Entertaining Strangers, 17, 21, 26,
191 Heartlanders, 184, 185-7, 189,
191, 192, 193 0 Fair Jerusalem, 15, 19, 22, 26 Pentecost, 150n
Edo, 79, 87n Eliot, T. S., 52, 69, 147 epic (drama, form), 8, 9, 10, 13,
171, 174, 175, 176, 179 Excalibur, 25
farce, 43, 45, 49, 50, 52, 55n, 139, 179 Farewell, My Lovely, 238 Farquhar, John, 121, 125, 133n
The Recruiting Officer, 121, 123, 125-8, 133n, 135n
Feinstein, Elaine, 185 Lear's Daughters, 185, 188-91, 194 see also Women's Theatre Group,
The feminism, 192, 194, 197, 198, 199,
200, 201, 204, 205, 207, 209, 211
Feydeau and Desvallieres, 217 Signed and Sealed, 217
fiction, 40, 65, 128, 129, 137, 138, 139, 140, 143, 144, 207
fictional, 139, 144, 145, 148, 177, 184, 185, 187, 197
fictionality, 136, 137, 138 fictitious, 138, 139, 172, 176, 184,
185, 188, 194 Field Day Company, 8 film noir, 234, 238 Fletcher, John, 45, 46
The Faithful Shepherdess, 45 Foucault, Michel, 152 frame, 108, 138, 145, 149, 161, 172,
186, 187, 188, 189, 192, 194, 203
frame play, 137 frame-within-a-frame, 187
252 Index
Freud, Sigmund, 43, 146, 148, 153, 159
fringe, 16, 17
Gay, John, 231, 233, 235, 236, 237, 240, 243
The Beggar's Opera, 231-3, 235-7, 240, 241
gaze, xtii, 144, 145 Gelbart, Larry, 234 gender roles, 197, 203, 205, 210 Genet, Jean, 152, 154, 173 Gershwin, George, 232, 233, 242
Porgy and Bess, 232, 233 gestus, 181 Giselle, 179 Goldsmith, Oliver, 91 Greek myths, xiv, 3-14
Hamlisch, Marvin, 241 A Chorus Line, 241
Hampton, Christopher, 215-30 Alice's Adventures Underground,
217, 222 The Philanthropist, 217, 225,
226-8 Handel, George Frederick, 235,.243
Acis and Galatea, 235 Rinaldo, 235
Hare, David, 16, 19, 55n A Map of the World, 19 with Howard Brenton, Pravda,
SSn Havel, Vaclav, 102 Heaney, Seamus, 3, 7, 8, 10, 13, 68
The Cure at Troy, 3, 4, 7, 10 Heywood, Thomas, 38 history, xiv, xv, 3, 8, 10, 11, 13, 24,
25, 27, 31, 42, 44, 45, 50, 51, 53, 54n, 55n, 62, 63, 67, 68, 69, 79, 125, 136, 139, 147, 148, 157, 160-3, 165, 166, 171, 172, 174, 175, 177, 178, 182, 202, 206
Horvath, Odon, von, 217, 219 Don Juan Comes Back from the
Wars, 217 Tales from the Vienna Woods, 217,
219-221 humanism, 68
hybridization, xiii, 59, 62 Hynes, Garry, 129 hyperrealism, 145 hypertextuality, 109 hypotext, 26, 137
-Ibsen, Henrik, 157, 158, 204, 211, 217 A Doll's House, 157, 204, 211,
213n, 217 Ghosts, 217 Hedda Gabler, 157, 217, 218 The Wild Duck, 217
idealism, 37 ideology, xiv, xv, 28, 36, 38, 141,
147-9 images-within-images, xiv, 118 imitation, 37, 70n, 144
see also mimesis, repetition inner play, 137, 138 inscribed plots, 137 interaction, 18, 212 intercultural, 173 Internationale, The, 179 interplay, xiv, 143, 166 interpretation, 45 intertextuality, 31, 62, 66, 68, 69,
70n, 108, 109, 111-13, 115, 117-19, 137, 174, 176, 178, 179, 181, 185, 186, 191, 232, 242
Ionesco, Eugene, 178 Ireland, 10, 11 irony, 32, 40, 41, 53 Izumo, Takeda, 79
Jacobean (drama), xiv, 30, 31, 32, 33, 48, 51, 59
James, Henry, 137 Japanese forms, xiv, 72-88 Jellicoe, Ann, 17, 18
The Reckoning, 18, 28n The Western Women, 18
Jidaimono, 79 Johnson, Samuel, Dr, 91 Joint Stock Theatre Group, 161,
185, 187, 193 Jonson, Ben, 38, 54n
Every Man in His Humour, 54n Joyce, James, 137, 139, 141
Ulysses, 137, 139
Index 253
Kabuki, 72, 78-87n Keefe, Barrie, 31, 41-3, 45, 48, 52, 53
A Mad World My Masters, 41-5 Keneally, Thomas, 121
The Playmaker, 121 Khaled, 84 Kismet, 232 Kristeva, Julia, 108 Ky6jo, Mono, 74
Lacan, Jacques, 165 Laclos, Choderlos de, 217
Les Liaisons Dangereuses, 217, 219, 222, 223-5
Laing, R. D., 152 Lapine, James, 242 Lawrence, David Herbert, 63 Lipkin, Joan, 199, 210, 212
Small Domestic Acts, 199 literary heritage, 136, 139, 140 Little Me, On the Twentieth Century,
241 Lloyd-Webber, Andrew, 234
Cats, 241 Evita, 241 The Phantom of the Opera, 232, 241 Sunset Boulevard, 232, 241, 242
Logan, Joshua, 79 Loesser, Frank, 237
Guys and Dolls, 237, 238
MacLennan, Elizabeth, 171-82 Watching for Dolphins, 171-82
Magdalena Project 201, 208, 212n3 Magritte, Rene, 136 mainstream, 16, 29n, 216 Maltese Falcon, The, 238 Mamet, David, 116
Oleanna, 116 Marlowe, Christopher, 69
The Jew of Malta, 69 Marx, Karl, 55n Maupassant, Guy de, 158
Pierre et Jean, 158 McGrath, John, xiv, 22, 171-82, 193
The Cheviot, the Stag and the Black, Black Oil, 22, 192, 193
Watching for Dolphins, 171-82 metacommunication, 174
metadiscourse, 21, 143 metadrama, xii, xiii, 91-6, 98, 99,
101-4, 105n, 136, 140, 142, 144-9, 190, 193
metafictional, 62 metamyth, 4 metaphor, xiv, 3, 4, 9, 11, 21, 26,
31, 34, 117, 136, 141, 144, 145-8, 160, 173, 174, 176-8, 181, 204, 234, 239
metatextuality, 66, 68, 108, 109 metatheatre, xii, 68, 91, 99, 104n,
125, 127, 128, 129, 134n, 135n, 154, 180, 202
Middleton, Thomas, 31, 32-4, 36, 38-41, 43-6, 52, 59-71
A Mad World My Masters, 31, 38-41
Women Beware Women, 31, 32, 36 Midnight Level 6, 208 mimesis, 70n, 136, 141, 144
mimetic(ally), 146, 159 mimicry, 65 see also imitation, repetition
mirror, 37, 65, 132, 144, 148, 204, 208, 211
mirroring (effect, process), 121, 137, 144, 172, 180, 181
mise en abyme, xiii, 137 Miserables, Les, 242 mise en scene, 142 Miss Saigon, 232 Mizoguchi, Kenji, 82 Mnouchkine, Ariane, 18
1789, 18 Mobile Street Players, The, 17 model, xiii, xiv, 4, 13, 139, 140,
174, 176, 177 Moliere, 217, 225, 226, 228
Don Juan, 217 Le Misanthrope, 217, 225, 226, 228 Tartuffe, 217
monologue, 97, 98, 100, 171, 172, 175
Monty Python and the Holy Grail, 25 Mozart, Wolfgang Amadeus, 179 multimedia, 198, 200 multicontextual, 200 multiracial casting, 199
254 Index
multireferential, 182 mummers' plays, 21, 26, 27 music-hall, 94, 188, 192, 242 musical (theatre), xiv, 38, 231-44 myths, xiv, 3, 4-14, 115, 117,
130-1, 139, 173 mythology, 8, 238
narrativity, 180 National Theatre (Royal), 5, 196,
242, 243 naturalism (naturalistic
conventions), 15, 17, 20, 141, 142, 176, 177, 202
Nestroy, Johann, 221 Einen Jux will er sich machen, 221
Nietzsche, Friedrich, 141 Nine o'Clock News, 43 Noh, 72-8, 86
Oedipus Rex, 76, 165 opera, 232, 233, 234 Oresteia, The, 104 Out of Joint, 135n21 outer play, 137, 138
palimpsest, 26, 108 pantomime, 92, 94, 240 parable, 72, 74, 172, 175, 238-9 paradox, xv, 22, 24, 28, 37, 38, 39,
41, 45, 47, 50-3, SSn, 139, 145 paratextuality, 108 parody, 7, 9, 26, 27, 108, 109, 111,
114, 116, 119, 136, 231, 233, 235, 242, 243
pastiche, 109, 136, 233, 234 pasticheur, 242
perception, xiii, 37, 52, SSn, 144, 146 performance, xiv, 5, 7, 8, 13, 40,
44, 48, 74, 78, 79, 91, 96, 101, 103, 109, 112, 122, 124, 125, 128, 129, 137, 140, 141, 143-6, 165, 172, 175-8, 182, 183n, 184, 191, 197-203, 205, 206, 208, 210, 211, 236, 237, 244
performance art, 142, 192 performative (performativity), 91,
141 perspective, 31, 144, 145, 148
Philoctetes, 4, 5, 8, 10, 11 Pinter, Harold, xiv, 108-20
Betrayal, 114-17, 119 The Birthday Party, 117-18 The Caretaker, 113 The French Lieutenant's Woman, 116 The Homecoming, 112, 113, 117 The Hothouse, 117, 118, 119 A Kind of Alaska, 116 lAndscape, 115, 117 Moonlight, 108, 110-14, 116, 117,
119 Mountain Language, 115, 116 No Man's Land, 112-15, 119 One for the Road, 116, 117 Old Times, 112, 114, 119 Party Time, 115, 116, 117 The Remains of the Day, 116
pinteresque, 108, 109, 110, 113, 114, 116-19
Pirandello, Luigi, 91, 94, 104n Plautus, 241 play-within-the-play, xiii, 11, 25-7,
40, 41, 43, 125, 126, 129-31, 136, 137, 149n
political drama, 15-29 Pope, Alexander, 231, 236, 240 popular (forms), 171, 172, 178, 182 Porter, Cole, 232, 237, 242
Kiss Me, Kate, 232, 233, 238 postmodernism, xiii, xv, 25, 28, 45,
62, 78, 136, 141, 146, 174, 179, 180, 181
Poussin, Nicolas, 144 Prince Igor, 232 problem plays, 45 Puccini, Giacomo, 233
Madame Butterfly, 233
realism, xiv, 37, 45, 47, 52, 110, 127, 141, 152-6, 157-9, 161, 162, 166, 177, 205
reality, 37, 40, 43, 44, 52, 56n, 153 reconstruction, 30, 37 re-contextualization, xiii, 143 re-creation, 3, 7, 9, 30, 37, 52, 165
re-playing, xiii, 38 re-presentation, .45-51 re-writing, xiii, 144, 217, 225-7,238
Index 255
reflexivity, xii, xiv, 3, 38, 41, 45, 52, 104n, 108, 136, 139, 141, 142, 145, 182, 198
reinterpretation, 146, 148, 226 repetition, 138, 139, 140, 141, 143,
145-9, 200 see also imitation, mimesis
replica, 18, 76 representation, xiii, xiv, 17, 52,
70n, 136, 141, 144, 145, 146, 153, 155, 158, 159, 166, 184, 191, 196, 200, 201, 206
Research Theatre International, 201 revision, 31, 45, 52 Rich, John, 240 ritual, 12, 148, 194 role-playing, xiii, 141, 156, 197,
198, 202, 203, 206, 207, 209, 212
see also gender romantic comedies, 46 Royal Court Theatre, 121, 202 Royal Shakespeare Company, 129,
199, 241, 242 Rudkin, David, 24
The Saxon Shore, 28 Russell, Willy, 232
Blood Brothers, 232
Satie, Eric, 243 satire, 32, 45, 51 Saunders, James, 149n Saussure (de), Ferdinand, 244 Schnitzler, Arthur, 217 self-examination, xii, xiv self-reflexivity, see reflexivity semiosis, 65 Seurat, Georges, 242 7:84 Theatre Company, 192 Sewamono, 79 Shakespeare, William, xiii, 10, 21,
31, 32, 45-52, 55n21, 67, 137, 139, 140, 143, 145, 189, 190, 194, 199, 204, 233
As You Like It, 204, 213n Hamlet, xiii, 113, 137 King Lear, 189, 190, 191, 194 Measure for Measure, 31, 45-6 The Merchant of Venice, 62
A Midsummer Night's Dream, xiii Richard II, 96 Romeo and Juliet, 199, 232 The Taming of the Shrew, xiii The Tempest, 10 The Winter's Tale, 76
Sharp, Lesley, 126 . Sheridan, Richard, 27
The Critic, 27 shite, 72-5 Simmons, Pip, 28 Smart, Annie, 185 Smith, Mossie, 127 Sondheim, Stephen, 234, 241-3
Company, 241 Follies, 241-3 A Funny Thing Happened to Me
on the Way to the Forum, 241 Into the Woods, 242 A Little Night Music, 241, 243 Merrily We Roll Along, 242 Passion, 242 Sunday in the Park with George,
242,243 Sweeney Todd, 241, 242
Soyinka, Wole, 3, 5, 10, 11, 12, 13 The Bacchae of Euripides, 3, 4, 5,
7, 10-12 space, 17-20, 143, 145 spectator, xiii, 17, 33, 36, 37, 40,
41, 44, 45, 52, 93, 140, 142, 144, 147, 159, 176, 178, 180, 186, 187, 189
Stafford-Clark, Max, 121, 126, 135n21, 202, 206 ·
Stanislavski, Constantin, 16 Steiner, George, 217, 218
The Portage· of San Cristobal of A. H., 217, 218
stereotype, 176, 177, 178, 210, 211 Stoppard, Tom, xiv, 27, 62, 66,
136-51, 196, 197, 212, 221 Arcadia, 136, 139, 142-7, 150n Artist Descending a Staircase, 144,
145 Cahoot's Macbeth, 136, 137, 143 Dogg's Hamlet, 136, 137, 141,
149n Hapgood, 136, 140, 142-7, 149n
256 Index
Stoppard, Tom - continued Indian Ink, 136, 139, 143-5, 147,
149n, 150n In the Native State, 149n Jumpers, 139, 149n On the Razzle, 221 The Real Inspector Hound, 136,
137, 139, 143, 144 The Real Thing, 136, 137, 138,
144, 149n Rosencrantz and Guildenstern are
Dead, 136, 137, 139, 140, 197 Travesties, 136, 137-8, 140, 141,
143, 146-8, 149n, 150n subversion, 24, 30, 31, 33, 38, 44-7,
51-3,54n,56n, 143 Sweet Charity, 241 Swift, Jonathan, 231 symbol, 7, 11, 155
Tennant, Emma, 62 Women Beware Women, 62
Terakoya, 79, 85 Terence, 39
Heautontimorumenos, 39, 41 text, xiii, xiv, 30, 50, 64, 69, 108,
130, 139, 141, 154, 166, 185, 188, 197, 200, 201, 203, 206, 210, 221, 222, 232, 243
Thatcher, Margaret, 42, 80, 127, 172, 202, 205, 206
theatereality, 92, 94-103, 104n, 105n
theatre on theatre, 186 theatricality, xii, xiv, 14, 66, 136,
142, 143, 146-9, 152, 153, 158, 165, 177
Theodorakis, Mikis, 173-5, 179 thriller, 139, 150n
see also detective play, whodunit Tis Pity She's a Whore, 137, 138 tragedy, 4, 11, 23, 30-4, 36-8, 40,
45, 46, 49, 50, 51-3, 54n, 95, 129, 140, 143, 144, 174, 225
tragicomedy, 30, 31, 45, 50, 52, 53 transcoding, xiii transformations, 30, 34, 35, 39, 44,
48, 50, 132 cultural transformations, 30-53
translation, xiii, xiv, 216, 217-21 transtextuality, 108 transvestite, 178 travesty, 3, 4, 7, 8, 142, 143
see also Stoppard, Tom, Travesties trompe-l'oeil, 142, 145, 148
V-Effekt, 13, 145 see also alienation, Brechtian,
distance values, 32, 38, 40, 47, 52, 53, 149 vaudeville, 92, 95, 104n, 242, 243
waki, 72-5 Warrilow, David, 100 Waters, Les, 185 Wedekind, Frank, 217 Welfare State, 18
The Travels of Launcelot Quail, 18 well-made play, 9, 91-4, 96, 105n Wertenbaker, Timberlake, xiv,
121-35 The Break of Day, 135n Hippolytus, 129, 130 The Love of the Nightingale,
129-32 Our Country's Good, 121-9
Wesker, Arnold, 16, 17, 62 West Side Story, 232, 241 When Spring Comes, 17 Whitelaw, Billie, 105n whodunit, 137, 139, 150n
see also detective play, thriller Wife of Bath, The, 233 Wilde, Oscar, 137, 138, 142, 146, 147
The Importance of Being Earnest, 137, 138
Williams, Raymond, 53 Wittgenstein, Ludwig, 149n
Philosophical Investigations, 149n Women's Theatre Group, The, 185
Lear's Daughters, 185, 188-91, 194 wordplay, 41, 43, 141-2
Yoruba, 5, 6, 12
Zeami, 72, 77 Zen,78 Zippel, David, 234