MARC record from Internet Archive

LEADER: 08416cam 2200625 i 4500
001 ocm61697762
003 OCoLC
005 20211014232913.0
008 050107t20062006caua b 001 0 eng
010 $a 2005920265
040 $aDLC$beng$erda$cDLC$dZQP$dBAKER$dBTCTA$dYDXCP$dMNW$dIG#$dOCLCF$dOCLCO$dOCLCQ$dCRH$dFUG$dOCL
020 $a0495004723
020 $a9780495004721
020 $a0534274943$q(Infotrac college ed.)
020 $a9780534274948$q(Infotrac college ed.)
020 $z2900495004720
035 $a(OCoLC)61697762
042 $apcc
050 00 $aPN2037$b.B32 2006
082 00 $a792$222
100 1 $aBarranger, Milly S.,$eauthor.
245 10 $aTheatre :$ba way of seeing /$cMilly S. Barranger.
246 3 $aTheater :$ba way of seeing
250 $aSixth edition
264 1 $aBelmont, CA :$bThomson Wadsworth,$c[2006]
264 4 $c©2006
300 $axvi, 410 pages :$billustrations (some color) ;$c26 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
500 $aIncludes glossary.
504 $aIncludes bibliographical references (pages 370-374) and index.
505 00 $gPart I.$tTheatre's seeing places --$g1.$tDiscovering theatre --$tThe immediate art --$tTheatre's immediacy --$tMass media and spectators --$tTheatre's fictions --$tTheatre's spaces --$tTheatre's audiences --$g2.$tThe seeing place --$tRitual and theatre --$tEarly performance spaces --$tTheatrical performance --$tWestern Theatre --$tGreek theatre --$tMedieval theatre --$tElizabethan theatre --$tProscenium theatres and modern stages --$tEastern Theatre --$tChinese theatre --$tJapanese theatre --$tIndian theatre --$g3.$tAlternative theatrical spaces --$tEnvironmental theatre --$tForerunners of alternative approaches --$tThe Polish Laboratory Theatre --$tGrotowski's "poor" theatre --$tAkropolis (1962) --$tThe Living Theatre --$tThe Brig --$tThe Living Theatre on tour --$tThéâtre du Soleil --$tAriane Mnouchkine's environmental space --$tLes Atrides --$tThe Bread and Puppet Theatre --$tPeter Schumann's open-air performances --$tDomestic Resurrection Circus --$tThe Free Southern Theater --$tIn White America --$tPart II.$g4.$tPlaywrights, perspectives, and forms --$tImage maker : the playwright --$tThe play and the audience --$tThe play : A "Blueprint of a House not yet built" --$tThe playwright's beginnings --$tThe playwright's role --$tThe playwright's tools --$tThe playwright's industry --$tNew American writing : alternative voices --$tGay and lesbian writing --$tAfrican American writing --$tAsian American writing --$tU.S. Latino/a writing --$g5.$tTheatrical writing : perspectives and forms --$tDrama's perspectives --$tTragedy --$tthe tragic vision --$tThe tragic realization --$tAristotle on tragedy --$tEuripides' Media as tragedy --$tComedy --$tThe comic vision --$tTragicomedy --$tModern tragicomedy --$tModern "American" tragicomedy --$tMelodrama --$tThe mixed form --$tMelodrama's view of life --$tFarce --$tThe "psychology" of farce --$tSociety's safety valve --$tEpic theatre --$tThe Epic play --$tEpic theatre as eyewitness account --$tThe alienation effect --$tAbsurdist theatre --$tThe Absurd --$tThe "American" absurd --$g6.$tStructures of seeing --$tThe playwright's art --$tDrama as imitation --$tDrama's elements --$tPlay structures --$tClimactic structure --$tEpisodic structure --$tSituational structure --$tMonodrama --$tRecent structures --$tSolo texts and performance art --$tPostmodern texts --$tTheatre of images --$tVisual and audio texts --$tRobert Wilson's the CIVIL wars --$g7.$tDrama's conventions --$tWriting strategies --$tStage directions --$tExposition --$tPoint of attack --$tComplication, crisis, climax --$tResolutions or endings --$tSimultaneous plots --$tConventions of time --$tDramatic vs. actual time --$tConventions of metaphor --$tThe play-within-the-play --$g8.$tStage language --$tLanguage for the theatre --$tWords and gestures --$tVerbal and nonverbal language --$tTypes of stage language --$tShakespeare's verse --$tSounds and silences --$tBrecht's gestic language --$tContemporary trends in American theatre --$tInfluences : Artaud's "Theatre of Cruelty) --$tDavid Mamet's wordsmiths --$tSam Shepard's magical realism --$gPart III.$tTheatre's practitioners --$g9.$tImage maker : the actor --$tActing : as imagination and technique --$tActing is doing --$tThe actor's reality --$tExternal technique --$tInternal belief --$tThe actor's tools --$tThe actor's training --$tPreparing the role --$tTrends in training American actors --$tSanford Meisner's Foundations --$tPractical Aesthetics with David Mamet and William H. Macy --$tThe "Viewpoints" : Mary Overlie and Anne Bogart --$tActors at work --$tAuditions --$tImprovisation --$tPhysical and vocal training --$tRehearsals and performance --$tActing with the camera --$g10.$tImage maker : the director --$tForerunners --$tDirector as artist --$tPeter Brook and The Mahabharata --$tDirectors at work --$tEarly responsibilities --$tDirector's assistants --$tStaging : approaches and styles --$tPreplanned approach --$tCollaborative approach --$tDirector as auteur --$tJulie Taymor, Martha Clarke, Pina Bausch --$g11.$tImage makers : designers; scenery, costumes, makeup, masks, wigs, and hair --$tThe scene designer --$tBackground --$tStage design : as visual storytelling --$tThe costume designer --$tThe costume --$tThe designer's process --$tMakeup, masks, wigs, and hair design --$g12.$tImage makers : designers --$tLighting and sound --$tThe lighting designer --$tBackground --$tThe art of light --$tthe designer's process --$tThe designer's working methods : plotting, focusing, and cueing --$tSpecial lighting effects --$tThe designer's assistants --$tThe sound designer --$tThe art of theatrical sound --$tThe designer's working methods --$tSpecial effects with sound --$tComputer-aided design : scenery, costumes, lighting, and sound --$tTechnical production --$tThe production team --$g13.$tImage makers : producers --$tProducing on Broadway --$tThe Broadway producer --$tProducing Off Broadway --$tProducing in regional theatres --$tStaging diversity --$gPart IV.$tAmerican musical theatre --$g14.$tThe American musical --$tMusical books, composers, lyricists, choreographers, and megamusicals --$tPrecedents --$tAn American musical idiom --$tPost-Second World War musical theatre --$tOklahoma! --$tMusical theatre at midcentury --$tWest Side Story --$tSixties alternatives to Broadway musicals --$tHair --$tNew directions --$tThe concept musical : company and follies --$tA Chorus Line --$tRock opera : Rent --$tBritish megamusicals --$tMiss Saigon --$tBroadway's audiences --$tPart V. Theatre's critics --$g15.$tViewpoints --$tCriticism --$tSeeing theatre --$tAudience as critics --$tAudience viewpoints --$tThe professional critic --$tThe critic's job --$tThe critic's creativity --$tThe critic's questions --$tPerformance notes --$tTheatre scholarship --$tCritical standards --$tFrank Rich on Samuel Beckett's Rockaby --$tWorking critics --$tBrooks Atkinson on Tennessee Williams' A Streetcar Named Desire --$tEdith Oliver on David Mamet's American Buffalo --$gGlossary.
650 0 $aTheater.
650 0 $aPerforming arts.
650 0 $aArtists and theater.
650 0 $aTheater and society.
650 0 $aDrama$xHistory and criticism.
650 7 $aTheater and society.$2fast$0(OCoLC)fst01149315
650 7 $aPerforming arts.$2fast$0(OCoLC)fst01057887
650 7 $aDrama.$2fast$0(OCoLC)fst00897468
650 7 $aArtists and theater.$2fast$0(OCoLC)fst01429809
650 7 $aTheater.$2fast$0(OCoLC)fst01149217
655 7 $aCriticism, interpretation, etc.$2fast$0(OCoLC)fst01411635
856 41 $3Table of contents$uhttp://catdir.loc.gov/catdir/enhancements/fy1103/2005920265-t.html
856 42 $3Contributor biographical information$uhttp://catdir.loc.gov/catdir/enhancements/fy1103/2005920265-b.html
856 42 $3Publisher description$uhttp://catdir.loc.gov/catdir/enhancements/fy1103/2005920265-d.html
938 $aBaker & Taylor$bBKTY$c103.95$d103.95$i0495004723$n0006310004$sactive
938 $aBaker and Taylor$bBTCP$n2005920265
938 $aIngram$bINGR$n9780495004721
938 $aYBP Library Services$bYANK$n2414706
029 1 $aAU@$b000041410648
029 1 $aYDXCP$b2414706
994 $aZ0$bP4A
948 $hNO HOLDINGS IN P4A - 80 OTHER HOLDINGS