Using his extraordinary grasp of the theatre, Robert Brustein, Dean of the Yale Drama School and prize-winning critic, examines campus turmoil, radicalism versus liberalism, the fate of the free university, and the new revolutionary life style. Brustein sees American society as profoundly decadent, and those radicals from whom creative and rational alternatives should come as being increasingly dominated by sentimentality and false emotionalism. His observations are often controversial, always timely and interesting.

Political theater thrives on turbulence. Transmuting Brexit, Trump, and impending ecological disaster into a potent, dramatic art form, its practitioners hold a mirror up to our society, wielding the power to entertain, shock, and discomfit. Scenes from the Revolution is a celebration of fifty years of radical theater in Britain. Beginning with a short history of pre-1968 political theater--covering Brecht, Joan Littlewood, and Ewan McColl--the editors move on to explore agit-prop, working-class, youth, community, POC, women's, and LGBTQ theater. Comprehensive in scope, and featuring many of the leading voices in the field today, as well as "lost" scripts from the radical theater companies of the past, Scenes from the Revolution is a must-read for anyone interested in politics in the arts.

From 1680 until the French Revolution, when legislation abolished restrictions on theatrical enterprise, a single theatre held sole proprietorship of Molière’s works. After 1791, his plays were performed in new theatres all over Paris by new actors, before audiences new to his works. Both his plays and his image took on new dimensions. In Molière, the French Revolution, and the Theatrical Afterlife, Mechele Leon convincingly demonstrates how revolutionaries challenged the ties that bound this preeminent seventeenth-century comic playwright to the Old Regime and provided him with a place of honor in the nation’s new cultural memory. Leon begins by analyzing the performance of Molière’s plays during the Revolution, showing how his privileged position as royal servant was disrupted by the practical conditions of the revolutionary theatre. Next she explores Molière’s relationship to Louis XIV, Tartuffe, and the social function of his comedy, using Rousseau’s famous critique of Molière as well as appropriations of George Dandin in revolutionary iconography to discuss how Moliérean laughter was retooled to serve republican interests. After examining the profusion of plays dealing with his life in the latter years of the Revolution, she looks at the exhumation of his remains and their reentombment as the tangible manifestation of his passage from Ancien Régime favorite to new national icon. The great Molière is appreciated by theatre artists and audiences worldwide, but for the French people it is no exaggeration to say that the Father of French Comedy is part of their national soul. By showing how he was represented, reborn, and reburied in the new France—how the revolutionaries asserted his relevance for their tumultuous time in ways that were audacious, irreverent, imaginative, and extreme—Leon clarifies the important role of theatrical figures in preserving and portraying a nation’s history.

"The Playful Revolution is an entertaining journal.... exemplary... " -- Illusions "The Playful Revolution breaks new ground by documenting developmental theatre in Asia in its current socio-political and economic ethos... " -- New Theatre Quarterly "[T]his book is the account of a personal journey through Asia, a written documentary of a quest to find political theatre that really works and that possesses a vitality and passion that the contemporary Western theatre seems to have lost." -- from the book In this groundbreaking book, van Erven reports on the liberation theatre movements throughout Asia, which include a diverse collection of creative artists whose politics range from liberal to revolutionary but who all share a common goal of using grass-roots theatre as an agent of liberation.

First published in 1981, this book represents the first work in English to give a comprehensive account of the revolutionary developments in German theatre from the decline of Naturalism through the Expressionist upheaval to the political theatre of Piscator and Brecht. Early productions of Kaiser’s From Morning till Midnight and Toller’s Transfiguration are presented as examples of Expressionism. A thorough analysis of Piscator’s Hoppla, Such is Life! And Brecht’s Man show the similarities and differences in political theatre. In addition, elements of stage-craft are examined — illustrated with tabulated information, an extensive chronology, and photographs and designs of productions.

Dramaturgy: A Revolution in Theatre is a substantial history of the origins of dramaturgs and literary managers. It frames the explosion of professional appointments in England within a wider continental map reaching back to the Enlightenment and eighteenth-century Germany, examining the work of the major theorists and practitioners of dramaturgy, from Granville Barker and Gotthold Lessing to Brecht and Tynan. This study positions Brecht's model of dramaturgy as central to the worldwide revolution in theatre-making practices, and it also makes a substantial argument for Granville Barker's and Tynan's contributions to the development of literary management. With the territories of play and performance-making being increasingly hotly contested, and the public's appetite for new plays showing no sign of diminishing, Mary Luckhurst investigates the dramaturg as a cultural and political phenomenon.

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