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Book

Why the Theatre

Book

Why the Theatre

DOI link for Why the Theatre

Why the Theatre book

In Personal Essays, College Teachers, Actors, Directors, and Playwrights Tell Why the Theatre Is So Vital to Them

Why the Theatre

DOI link for Why the Theatre

Why the Theatre book

In Personal Essays, College Teachers, Actors, Directors, and Playwrights Tell Why the Theatre Is So Vital to Them
Edited BySidney Homan
Edition 1st Edition
First Published 2020
eBook Published 14 December 2020
Pub. Location New York
Imprint Routledge
DOI https://doi.org/10.4324/9781003017615
Pages 220
eBook ISBN 9781003017615
Subjects Arts
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Homan, S. (Ed.). (2020). Why the Theatre: In Personal Essays, College Teachers, Actors, Directors, and Playwrights Tell Why the Theatre Is So Vital to Them (1st ed.). Routledge. https://doi.org/10.4324/9781003017615

ABSTRACT

Why the Theatre is a collection of 26 personal essays by college teachers, actors, directors, and playwrights about the magnetic pull of the theatre and its changing place in society.

The book is divided into four parts, examining the creative role of the audience, the life of the actor, director, and playwright in performance, ways the theatre moves beyond the playhouse and into the real world, and theories and thoughts on what the theatre can do when given form onstage. Based on concrete, highly personal examples, experiences, and memories, this collection offers unique perspectives on the meaning of the theatre and the beauty of weaving the world of the play into the fabric of our lives.

Covering a range of practices and plays, from the Greeks to Japanese Butoh theatre, from Shakespeare to modern experiments, this book is written by and for the theatre instructor and theatre appreciation student.

TABLE OF CONTENTS

chapter |8 pages

Introduction

Why?
BySidney Homan

part Part I|46 pages

The Creative Role of the Audience

chapter 1|6 pages

Vouchsafe Me Audience

ByNick Hutchison

chapter 2|7 pages

Training the Eye

ByS. P. Cerasano

chapter 3|8 pages

Undeveloped Freight

Listening Together in the Playhouse
ByRobert Price

chapter 4|6 pages

A Shakespeare Professor Becomes a Playgoer

ByAlan C. Dessen

chapter 5|9 pages

Acting the Storm

Twenty Years of Tempests
ByJune Schlueter

chapter 6|8 pages

From Theatre to Classroom

Making Teaching Effective
ByFrederick Kiefer

part Part II|44 pages

The Life of the Actor, Director, and Playwright in Performance

chapter 7|5 pages

Why the Theatre?

The Breaking of the Fourth Wall
ByGary Lagden

chapter 8|7 pages

Play, Devising, and the Creative Process

ByBrian Rhinehart

chapter 9|7 pages

I Am Thrilled by an Impure Theatre

BySidney Homan

chapter 10|6 pages

In the Nick

Theatre in and of Our Times
ByJerry Harp

chapter 11|5 pages

“The Play” May Not Be “The Thing”—But Something Is

ByErica Terpening-Romeo

chapter 12|6 pages

Why Butoh Theatre

Thoughts of the Actor, Questions From the Director
ByYokko (Yoshiko Sienkiewicz), Brian Rhinehart

chapter 13|6 pages

Amateur Hour, or Notes From a Hack Playwright

ByPaul Menzer

part Part III|48 pages

When the Theatre Moves Beyond the Stage Into the Real World

chapter 14|5 pages

Theatre for Health

ByJoanne Howarth

chapter 15|9 pages

Why Make Theatre in the South Pacific?

A Personal View of Theatre in Aotearoa/New Zealand
ByDavid O’Donnell

chapter 16|5 pages

Empathy Is Essential

ByKristin Kundert

chapter 17|5 pages

The Art of Failure

ByKatherine McGerr

chapter 18|8 pages

Why Teach Theatre?

ByGina MacKenzie

chapter 19|14 pages

Making Theatre Around the World, and What It Has Taught Me

ByAvra Sidiropoulou

part Part IV|51 pages

Theories and Thoughts About What the Theatre Can Do When Given Form Onstage

chapter 20|9 pages

The Cruelty Tourist and the Emancipated Spectator

Looking for an Essential Theatre
ByRalf Remshardt

chapter 21|8 pages

Theatre and the Digital Native

ByDonna Soto-Morettini

chapter 22|5 pages

Remembering Dreams

ByFran Teague

chapter 23|7 pages

Theatrical Pleasure and Lynn Nottage’s Intimate Apparel

ByJoseph Candido

chapter 24|6 pages

Yeats’s “Lapis Lazuli” as Theatrum Mundi

ByDaniel T. O’Hara

chapter 25|6 pages

Why (Not) Theatre? Stage, Screen, and Streaming in a Pandemic

ByPatrick Hart

chapter 26|6 pages

Because

ByCary M. Mazer

chapter |2 pages

Epilogue

“Yeh, Boss”
BySidney Homan
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