Modern plays are strikingly diverse and, as a result, any attempt to locate an underlying unity between them encounters difficulties: to focus on what they have in common is often to overlook what is of primary importance in particular plays; to focus on their differences is to note the novelty of the plays without increasing their accessibility. In this study, first published in 1985, Austin E. Quigley takes as his paradigm case the relationship between the world of the stage and the world of the audience, and explores various modes of communication between domains. He asks how changes in the structure of the drama relate to changes in the structure of the theatre, and changes in the role of the audience. Detailed interpretations of plays by Pinero, Ibsen, Strindberg, Brecht, Ionesco, Beckett and Pinter question principles about the modern theatre and establish links between drama structure and theatre structure, theme, and performance space.

Modern plays are strikingly diverse and, as a result, any attempt to locate an underlying unity between them encounters difficulties: to focus on what they have in common is often to overlook what is of primary importance in particular plays; to focus on their differences is to note the novelty of the plays without increasing their accessibility. In this study, first published in 1985, Austin E. Quigley takes as his paradigm case the relationship between the world of the stage and the world of the audience, and explores various modes of communication between domains. He asks how changes in the structure of the drama relate to changes in the structure of the theatre, and changes in the role of the audience. Detailed interpretations of plays by Pinero, Ibsen, Strindberg, Brecht, Ionesco, Beckett and Pinter question principles about the modern theatre and establish links between drama structure and theatre structure, theme, and performance space.

In the twenty years that preceded the publication of this book in 1988, David Rabe was in the vanguard of playwrights who shaped American theatre. As the first full-length work on Rabe, this book laid the groundwork for later critical and biographical studies. The first part consists of an essay that covers three sections: a short biography, a summary and evaluation of his formative journalism for the New Haven Register, and a detailed and cohesive stage history of his work. The second part presents the most comprehensive and authoritative primary bibliography of Rabe to date, with the third section containing a secondary bibliography — including a section on biographical studies.

First published in 1990, this title presents a rich account of how television intersects with family life in American and other world cultures. From an analysis of the political and cultural significance of China’s most important television series to detailed descriptions of how families in the United States interpret and use television at home, James Lull’s ethnographic work marks an important stage in the study of the role of the mass media in contemporary culture. This title will be of interest not only to those in media and communications, but also to those in the broader fields of cultural anthropology and sociology.

Reading the Renaissance, first published in 1996, is a collection of essays discussing the literature, drama, poetics and culture of the Renaissance period. The Renaissance, which extends from about 1300 to 1700 depending on the country, was originally a rebirth of the arts but has also come to apply to the wider cultural change in the face of modernization. The essays represent a plural Renaissance and explore the boundaries between genre and gender, languages and literatures, reading and criticism, the Renaissance and the medieval, the early modern and the postmodern, world and theatre. There is also a plurality of methods that is fitting for the variety of topics and the richness of the Renaissance. This book is ideal for students of literature and theatre studies.

Since the Second World War, we have witnessed exciting, often confusing developments in the British theatre. This book, first published in 1976, presents an enlightening, objective history of the many facets of post-war British theatre and a fresh interpretation of theatre itself. The remarkable and profound changes which have taken place during this period range from the style and content of plays, through methods of acting, to shapes of theatres and the organisational habits of managers. Two national theatres have been brought almost simultaneously into existence; while at the other end of the financial scale, the fringe and pub theatres have kicked their way into vigorous life. The theatre in Britain has been one of the post-war success stories, to judge by its international renown and its mixture of experimental vitality and polished experience. In this book Elsom presents an approach to the problems of criticism and appreciation which range beyond those of literary analysis.

'Making Sense' outlines how the growing child comes to understand the world, make sense of experience and becomes a competent social individual.