This long-awaited bibliography of recent books about theatre architecture, scenography and costume, published with the support of Belgian Ministry of Culture and the «Théâtre & Publics» Association, has been prepared in collaboration with experts in five languages: English, French, German, Italian and Russian. This extensive bibliography, which meets the demands of the International Theatre Institute organizations and the International Organization of Scenographers, Theatre Architects and Technicians, will prove useful to theatre practitioners as well as to confirmed or young theatre scholars. Cette bibliographie rassemble un choix d'ouvrages sur le théâtre et l'architecture, la scénographie, le costume. Elle a bénéficié de la collaboration d'experts internationaux (anglais, français, allemands, italiens et russes). Répondant à la demande de l'IIT (Institut international du théâtre) et de l'OISTAT (Organisation internationale des scénographes, techniciens et architectes de théâtre), cette bibliographie en cinq langues est un précieux outil pour tout praticien et théoricien du théâtre.

15 volumes. Reprints of obituaries published in the entertainment trade journal Variety, arranged chronologically with indexes. (Vol. 11 is the index to all previous volumes, and subsequent volumes have their own indexes).

Includes a directory for locating biographical information about historical figures in American and British theatre.

Contains 532 annotated entries which provide students and researchers in theater with a list of sources of reference and bibliographical information on American theater and drama.

Lists and describes published biographies and autobiographies about notable figures in world theatre from the beginnings to 1985.

Lists and describes major published sources of information about American actors from the beginning of American professional theatre to 1983.

Lists and describes a variety of information sources specific to American and English theater.

The Oxford Companion to Theatre and Performance is based on the celebrated Oxford Encyclopedia of Theatre and Performance. It covers styles and movements, buildings, organizations, and traditions from the world of live performance as well as biographies of actors, playwrights, directors, anddesigners including the prominent people and companies in the industry today. Popular and accessible in its approach, the Companion has 2,400 entries presented in a compact and portable format, and includes a timeline of historical and cultural events in the world of theatre and performance fromc.3000 BC to the present day, as well as an extensive bibliography and an appendix of useful web links, which is supported and can be accessed through a companion website.This Companion provides an informative and accessible point of reference essential for both the theatre-going public and specialists and professionals in the field.

First published in 1984, Gerald Bordman's Oxford Companion to American Theatre is the standard one-volume source on our national theatre. Critics have hailed its "wealth of authoritative information" (Back Stage), its "fascinating picture of the volatile American stage" (The Guardian), and its"well-chosen, illuminating facts" (Newsday).Now thoroughly revised, this distinguished volume once again provides an up-to-date guide to the American stage from its beginnings to the present. Completely updated by theater professor Thomas Hischak, the volume includes playwrights, plays, actors, directors, producers, songwriters, famousplayhouses, dramatic movements, and much more. The book covers not only classic works (such as Death of a Salesman) but also many commercially successful plays (such as Getting Gertie's Garter), plus entries on foreign figures that have influenced our dramatic development (from Shakespeare toBeckett and Pinter). New entries include recent plays such as Angels in America and Six Degrees of Separation, performers such as Eric Bogosian and Bill Irwin, playwrights like David Henry Hwang and Wendy Wasserstein, and relevant developments and issues including AIDS in American theatre,theatrical producing by Disney, and the rise in solo performance.Accessible and authoritative, this valuable A-Z reference is ideal not only for students and scholars of theater, but everyone with a passion for the stage.

This encyclopedia contains concise reviews and summaries, alphabetically arranged by title, of over 2,000 plays produced on and off-Broadway from 1900 to 1975.

Historical Dictionary of American Theater: Beginnings covers the history of theater as well as the literature of America from 1538 to 1880. The years covered by this volume features the rise of the popular stage in American during the colonial era and the first century of the United States of America, with an emphasis on its practitioners, including such figures as Lewis Hallam, David Douglass, Mercy Otis Warren, Edwin Forrest, Charlotte Cushman, Joseph Jefferson, Ida Aldridge, Dion Boucicault, Edwin Booth, and many others. The Historical Dictionary of American Theater: Beginnings covers the history of early American Theatre through a chronology, an introductory essay, and an extensive bibliography. The dictionary section has over 1000 cross-referenced entries on actors and actresses, directors, playwrights, producers, genres, notable plays and theatres.

The fifty-year period from 1880 to 1929 is the richest era for theater in American history, certainly in the great number of plays produced and artists who contributed significantly, but also in the centrality of theater in the lives of Americans. As the impact of European modernism began to gradually seep into American theater during the 1880s and quite importantly in the 1890s, more traditional forms of theater gave way to futurism, symbolism, surrealism, and expressionism. American playwrights like Eugene O'Neill, George Kelly, Elmer Rice, Philip Barry, and George S. Kaufman ushered in the Golden Age of American drama. The Historical Dictionary of American Theater: Modernism focuses on legitimate drama, both as influenced by European modernism and as impacted by the popular entertainment that also enlivened the era. This is accomplished through a chronology, an introductory essay, a bibliography, and hundreds of cross-referenced entries on plays; music; playwrights; great performers like Maude Adams, Otis Skinner, Julia Marlowe, and E.H. Sothern; producers like David Belasco, Daniel Frohman, and Florenz Ziegfield; critics; architects; designers; and costumes.

Contains a chronology, introduction, list of acronyms and abbreviations, in-depth chronology, appendixes, and more than 700 cross-references dictionary entries on African American theater.

Two volumes: [1] Africa, Asia, Australia and New Zealand, Canada, Eastern Europe, Latin America, the Middle East, Scandinavia -- [2] United States of America, Western Europe (excluding Scandinavia)

An indispensable guide to an aspect of American theatre covered by no other reference work. Salient facts about resident acting companies of the period in the United States are presented in an easy-to-use format. Information from hundreds of published and unpublished sources relating to the dates, places, personnel, policies, and repertories of the most durable theatrical groups is encapsulated and arranged for easy access. Each entry includes dates and locations of the company's operations, names of managers with information about their artistic and business practices, as well as facts about key performers, designers, technicians, and other support personnel. An added dimension is provided in the analysis of each group's repertory and assessment of its commercial and artistic achievement. A bibliography of published sources used in the entry, as well as a guide to archival resources for further study are included.

This companion volume to American Theatre Companies, 1749-1887 (Greenwood Press, 1986) is an indispensable guide to an aspect of American theatre covered by no other reference work. Salient facts about resident acting companies of the period in the United States are presented in an easy-to-use format. Information from hundreds of published and unpublished sources relating to the dates, places, personnel, policies, and repertories of the most durable theatrical groups is encapsulated and arranged for easy access. Each entry includes dates and locations of the company's operations, names of managers with information about their artistic and business practices, as well as facts about key performers, designers, technicians, and other support personnel. An added dimension is provided in the analysis of each group's repertory and assessment of its commercial and artistic achievement. A bibliography of published sources used in the entry, as well as a guide to archival resources for further study are included.

Because of its contemporary coverage, this volume is particularly interesting and useful. . . . Reference collections that deal with theater questions could find it a good source even without its two predecessor volumes, but the set as a whole is recommended. Choice An outstanding reference collection is completed with the publication of Durham's American Theatre Companies, 1931-1986, an indispensable guide to an aspect of American theatre not covered elsewhere. The American theatre has undergone a process of decentralization and the focus has shifted from Broadway, once the proving ground for all nationally known theatre talent, to fine regional theatres across the nation. This volume surveys the fifty-year period in which this transformation occurred. The work consists of seventy-eight entries that profile a wide range of types of theatre companies including art theatres, units of the Federal Theatre project, workers' theatre, experimental theatre groups, ethnic theatre groups, children's theatre companies, and regional repertory companies, large and small. The Profiles section contains information-packed narratives from both published and unpublished sources that describe, analyze, and evaluate management policies, facilities, personnel, and repertories of these organizations. Each entry contains an extensive list of key personnel, including managers, designers, actors, and actresses, as well as plays that company produced. A bibliography of sources and a guide to archival resources for further study follows each entry. Two additional appendices are devoted to chronological and state-by-state listings of theatre companies. The volume concludes with an index of personal names and play titles. This important resource should be a part of every university's reference collection. It will be consulted by students and scholars of theatre and drama, American history, American popular culture, and American social and cultural history, as will its companion volumes American Theatre Companies, 1749-1887 (Greenwood Press, 1986) and American Theatre Companies, 1888-1930 (Greenwood Press, 1987).

A comprehensive directory of more than 600 entries, this detailed ready reference features professional, semi-professional, and academic stage organizations and theatres that have been in the forefront in pioneering most of the advances that African Americans have made in the theatre. It includes groups from the early 19th century to the dawn of the revolutionary Black theatre movement of the 1960s. It is an effort to bring together into one volume information that has hitherto been scattered throughout a number of different sources. The volume begins with an illuminating foreword by Errol Hill, a noted critic, playwright, scholar and Willard Professor of Drama Emeritus, Dartmouth College. A comprehensive directory of more than 600 entries, this detailed ready reference features professional, semi-professional, and academic stage organizations and theatres that have been in the forefront in pioneering most of the advances that African Americans have made in the theatre. It includes groups from the early 19th century to the dawn of the revolutionary Black theatre movement of the 1960s. It is an effort to bring together into one volume information that has hitherto been scattered throughout a number of different sources. The volume begins with an illuminating foreword by Errol Hill, a noted critic, playwright, scholar and Willard Professor of Drama Emeritus, Dartmouth College. Included in the volume are the earliest organizations that existed before the Civil War, Black minstrel troupes, pioneer musical show companies, selected vaudeville and road show troupes, professional theatrical associations, booking agencies, stock companies, significant amateur and little theatre groups, Black units of the WPA Federal Theatre, and semi-professional groups in Harlem after the Federal Theatre. The A-Z entries are supplemented with a classified appendix that also includes additional organizations not listed in the main directory, a bibliography, and three indexes for shows, showpeople, and general subjects. Cross referencing makes related information easy to find.

Known as the "bible" of theatre history, Brockett and Hildy's History of the Theatre is the most comprehensive and widely used survey of theatre history in the market.   This 40th Anniversary Edition retains all of the traditional features that have made History of the Theatre the most successful text of its kind including worldwide coverage, more than 530 photos and illustrations, useful maps, and the expertise of Oscar G. Brockett and Franklin J. Hildy, two of the most widely respected theatre historians in the field.  This tenth edition provides the most thorough and accurate assessment of theatre history available and includes contemporary milestones in theatre history.

This three-volume work will accomplish for the American non-musical theatre what Bordman's American Musical Theatre did for our song-and-dance entertainments: it chronicles, in order by opening, every Broadway comedy and drama, show by show, season by season, offering a plot synopsis,principal players, and important statistics. Scenery and costumes are described where they might be of interest, and comments of the plays' contemporary critics are quoted. In many instances, extended excerpts from the play are included to give the reader a fuller understanding of its nuances andits period dialogue. Also included, and worked chronologically into the text, are details about cheap-priced, cliff-hanging melodramas, such as Bertha, the Sewing Machine Girl and His Sister's Shame, which were among America's most popular diversions in theatres catering to blue-collar playgoersuntil silent films drew away their audiences. Examples of shows produced and designed for other than New York are included.This volume deals with the great expansion of American theatre after the Civil War, the careers of such prominent actors and actresses as Edwin Booth, Mrs. Fiske, the Drew and Barrymore families, the first important American playwrights like Clyde Fitch, producers like David Belasco, and theinfluence of foreign plays and players. This stage history, besides giving a sense of each production, touches on the literary worth of the plays, provides brief biographies of major figures, and sets all of this against the economic and social backgrounds of the time. Readers will close the bookfeeling they, like their parents and grandparents, have sat through performances of these shows of another era.

This book concludes Gerald Bordman's acclaimed survey of American non-musical theatre. It deals with the years 1930 to 1970, a period when the number of yearly new plays was shrinking, but a period during which American drama as a whole entered the world stage and became a dominant force. Withworks like Eugene O'Neill's Long Day's Journey Into Night, Tennessee William's A Streetcar Named Desire, and Arthur Miller's Death of a Salesman, American theater finally reached adulthood both dramatically and psychologically. Bordman's lively, authoritative study covers every Broadway production,as well as every major off-Broadway show. His discussion moves season by season and show by show in chronological order; he offers plot synopses and details the physical production, directors, players, theaters, and newspaper reviews. This book and the preceding volumes of American Theatre stand asthe premier history of American drama.

The American Theatre series discusses every Broadway production chronologically--show by show and season by season. It offers plot summaries, production details, names of leading actors and actresses--the roles they played, as well as any special or unusual aspects of individual shows. Thissecond volume in the series, covers what is probably the richest period in American theater, the years 1914 through 1930. Bordman includes most of Eugene O'Neill's work, along with playwrights as diverse as Elmer Rice and George Kaufman. Among the era's stars one finds John and Ethel Barrymore,Helen Hayes, Katherine Cornell, and Lynn Fontaine and Alfred Lunt. Considering the sheer number of productions, American theater climbed to its all-time high in the 1920s; by mid-decade, nearly 300 new plays appeared on Broadway each year. America saw more theatrical activity--in every sense of theword-- than any time before or since.

Volume Four of the distinguished American Theatre: A Chronicle of Comedy and Drama series offers a thorough, candid, and fascinating look at the theater in New York during the last decades of the twentieth century.

This ambitious collection of essays will cover American drama in its entirety - from its inception in colonial America, through its many incarnations in the nineteenth century, to its zenith in the twentieth and early twenty-first centuries. Differentiating itself from other treatments of thegenre, the handbook will not only highlight the major works of the twentieth century, but will also attend carefully to earlier works and contexts. The collection's first part will explore the genre's eighteenth-century genesis. William Dunlap's complex, sympathetic portrait of British forces inAndre is counterbalanced by the biting anti-colonial political satire of the nation's first female playwright, Mercy Otis Warren, through an appraisal of her witty, subversive skewering of British loyalists in The Group. The nineteenth century saw the form diversifying with offerings like theantebellum era's reform plays, the melodrama, and the musical - a flowering that was given a new center of action in the growth of Broadway. A full survey of the vexing tradition of minstrelsy and the struggles of Black Americans on the stage provides a transition into the twentieth century.The new approaches to playwriting and performance pioneered by Eugene O'Neill, Susan Glaspell, and the Provincetown Players gave theater a new cachet early in the century through the possibilities offered by naturalism and expressionism. Overtly political content took the stage in the protest playsof Clifford Odets during the Great Depression though in general a more insular realism proved the dominant style, albeit one interrupted by recurring periods of experimentalism. Key moments and artists who defined the later half of the twentieth-century are illuminated through in-depth essays on thescathing indictments of the American dream put forward by Arthur Miller, Tennessee Williams, and Edward Albee; the impact of the countercultural, mixed-race musical Hair; the complex nature of David Mamet's social critique; the energy of experimental, off-Broadway theater; the importance of placeand memory in August Wilson's works; and the acute anxiety over the AIDS crisis during the Regan eighties as presented in Angels in America. The volume will conclude with a consideration of what lies ahead for the nation's drama, focusing on the pivotal work of leading lights such as Sarah Ruhl andSuzan Lori-Parks.

Provides a selection of reviews from 1752 through 1934

Interpretations and criticisms of plays by American dramatists published from 1890 to 1977 are indexed by author with indices of critics and playwrights and lists of books and periodicals drawn upon.

A guide to finding reviews in books, newspapers, and magazines