Jim Patterson is a co-author of Stage Money: The Business of Professional Theater, Theater Careers: A Realistic Guide, Theatre in the Secondary School Classroom, and the seventh, eighth, and ninth editions of The Enjoyment of Theatre. He also wrote Stage Directing: The First Experiences. Jim Patterson spent three decades teaching at the University of South Carolina, where he headed the MFA directing program, served as Director of Undergraduate Studies, and directed the department’s summer theatre program. Now a Distinguished Professor Emeritus, Jim has been recognized for his work by the South Carolina Theatre Association and the South Carolina Speech Communication Association. He has directed over 140 stage productions plus numerous training films. He is a member of the Stage Directors and Choreographers Society.Tim Donahue is co-author of Stage Money: The Business of the Professional Theater, Theater Careers: A Realistic Guide, and the ninth edition of The Enjoyment of Theatre. He holds an M.B.A. from the University of South Carolina, where he retired from the Department of Theatre and Dance as the director of marketing and development after nearly ten years.

• In this Section:1) Brief Table of Contents2) Full Table of Contents 1) Brief Table of Contents Introduction: The Theatre of Many Times and PlacesChapter 1: Greek Theatre Chapter 2: Roman Theatre 240 BCE - 550 CE Chapter 3: Early Theatre of Asia 200 BCE - 1800 CE Chapter 4: The European Middle Ages Chapter 5: The Italian RenaissanceChapter 6: The Golden Ages of England and Spain Chapter 7: Neoclassicism: Triumph and Decline in France and EnglandChapter 8: Melodrama and The Rise of Commercialism 1750 - 1900Chapter 9: Romanticism and Realism 1750 — 1900Chapter 10: Theatre in AfricaChapter 11: Reactions to Commercialism and Realism 1900-1950Chapter 12: Musical Theatre Chapter 13: Eclecticism: U.S. Theatre from 1950Chapter 14: European Theatre after 1950Chapter 15: Theatre in Asia from 1800Chapter 16: Globalization of Theatre 2) Full Table of Contents Introduction: The Theatre of Many Times and PlacesThe Past in the Present Theatre: A Definition Language And Its Problems Theatre-Like ActivitiesHistorical Evidence, Emphasis, and Omissions OrganizationChapter 1: Greek Theatre Objectives Context Theories of the Origins of TheatreTraits of Greek TheatrePlays and PlaywrightsTheatre Buildings and PracticesThe Hellenistic PeriodThe Shift to Rome Chapter 1 at a Glance Key Terms Captions The Play’s the Thing: Sophocles’ Oedipus Rex, 427 BCE The Story of the Play How We Know: Paintings on Greek Vases How We Know: Menander and The GrouchChapter 2: Roman Theatre 240 BCE - 550 CE Objectives Context Roman Festivals and Theatre of the Republic Tragedy and Comedy, Mostly ComedyThree Important TextsTheatre Buildings, Scenery, Costumes, and Masks Paratheatrical Entertainments Christian Opposition to TheatreThe Breakup of the Empire The Eastern (Byzantine) Empire and Theatre Chapter 2 at a Glance Key Terms Captions The Play’s the Thing: Plautus’s The MenaechmiThe Story of the Play How We Know: Theatre in an Ordinary Roman TownChapter 3: Early Theatre of Asia 200 BCE - 1800 CE Objectives Context IndiaChinaJapanSummary Chapter 3 at a Glance Key Terms CaptionsThe Play's the Thing: Shakuntala The Story of the Play The Play's the Thing: Li Xingdao's Chalk Circle The Story of the Play How We Know: Shakuntala’s First TranslationThe Play's the Thing: The Peony Pavilion The Story of the PlayChapter 4: The European Middle Ages Objectives Context Early Medieval Drama and Theatre: 476 to 1200Production inside the Church Later Medieval Culture and Theatre, c. 1200—1550 Religious Drama outside the Church Staging Religious Plays outside the ChurchSecular DramaThe End of Medieval Religious Theatre: The Transformation of Medieval Secular Theatre Summary Chapter 4 at a Glance Key Terms Captions How We Know: Bishop Ethelwold’s Stage Directions for the Quem Quaeritis Trope The Play’s the Thing: The Second Shepherds' Play, Anonymous The Story of the Play How We Know: Pageant Wagons The Play’s the Thing: Everyman, Anonymous, c. 1490 The Story of the Play How We Know: Oberammergau Passion PlayChapter 5: The Italian Renaissance Objectives ContextTheory: NeoclassicismPractice: Italian Renaissance DramaIllusionismRenaissance Theatre StructuresStage Settings for Illusionistic TheatreContradiction in Mainstream Theatre An Alternative Theatre: Commedia dell’ArteItaly: Eclipse Chapter 5 at a Glance Key Terms Captions How We Know: Commedia Scenarios Act One, Flavio's Good Fortune Chapter 6: The Golden Ages of England and Spain Objectives Context England and the Golden AgeCourt Masques and New Conventions: Inigo JonesThe Closing of English TheatresSpain in the Golden AgeSummary Chapter 6 at a Glance Key Terms Captions The Play’s The Thing: Calderon de la Barca’s Life is a Dream, 1635 The Story of the Play How We Know: The Swan Drawing How We Know: Philip Henslowe’s Inventory How We Know: Three Public TheatresChapter 7: Neoclassicism: Triumph and Decline in France and England Objectives Context French Theatre through Its Golden AgeEnglish Restoration Theatre (1660—c. 1750)The Rise of Sentimentalism: 1700–1750Chapter 7 at a Glance Key Terms Captions How We Know: A Forgotten Theatre Recovered The Play’s the Thing: Jean Racine’s Phèdre (Phaedra), 1677 The Story of the Play The Play’s the Thing: Molière’s Tartuffe, 1669 The Story of the PlayChapter 8: Melodrama and The Rise of Commercialism 1750 - 1900 Objectives ContextTheatre Becomes CommercialTheatre in Four Countries, circa 1700 to c 1850Commercial Theatre Develops Actors, ManagersFrom Actor-Managers to ProducersDrama in the Commercial TheatreMelodrama in the Commercial TheatreComedy in the Commercial TheatreReactions to the Commercial Theatre Chapter 8 at a GlanceKey Terms How We Know: Early Theatre Photography Captions The Play’s the Thing: Augustin Daly’s Under the Gaslight, 1867 The Story of the PlayChapter 9: Romanticism and Realism 1750 — 1900 Objectives ContextRomanticism in the TheatreRomanticism in Germany, England, and FranceRomanticism Dwindles An Aftershock: Richard Wagner, a Romantic Artist, Flourishing 1842 to 1882Reform After Romanticism: Realism and Naturalism, from circa 1850 Important Leaders of Realism and NaturalismPlays and Playwrights of RealismSummary Chapter 9 at a Glance Key Terms Captions The Play’s the Thing: Henrik Ibsen’s A Doll’s House, 1879 The Story of the PlayChapter 10: Theatre in Africa Objectives ContextTheatre in Northern Africa Theatre in Sub-Saharan AfricaSummary Key Terms Captions Play’s the Thing: Wole Soyinka, Death and the Kings Horseman, 1976 Story of the Play How We Know: Theatre in Ancient Egypt Chapter 11: Reactions to Commercialism and Realism 1900-1950Objectives Context Revolts Against Realism and CommercialismTwo Influential Theorists Against Commercialism and RealismImportant US Theatre GroupsThe Art Theatre MovementPlaywrights, Sometimes Commercial, Sometimes RealisticTheatre under Occupation and Totalitarianism Commercial Theatre Declines Summary Chapter 11 at a Glance Key Terms Captions The Play’s the Thing: Antonin Artaud’s Jet of Blood, 1924 Story of the Play: Eugene O'Neill's Long Day's Journey into Night, produced 1956 The Story of the Play Chapter 12: Musical Theatre Objectives Context The American Musical EmergesSong Forms Musicals Since 1950Summary Chapter 12 at a Glance Key Terms Captions The Play’s the Thing: Girl Crazy, 1930 The Story of the Musical How We Know: Preserving MusicalsChapter 13: Eclecticism: U.S. Theatre from 1950 ObjectivesContextTheatre Becomes Eclectic: an Overview Professional TheatrePlays Since 1950The Political Avant-Garde in TheatreThe Artistic Avant-Garde in TheatreThe Avant-garde Fades Identity Theatre EmergesAbsurdism, Performance Art, and PostmodernismTheatrical Responses to 9/11 and New WarsThe Cultural Displacement of Theatre The Play’s the Thing: Tyler Perry and the Chitlin’ Circuit How We Know: Theatre on Film and Tape Archive Key Terms Captions The Play’s the Thing: August Wilson’s Century of African American Life The Play’s the Thing: Tennessee Williams’s A Streetcar Named Desire, 1947 The Story of the Play The Play's the Thing: Paula Vogel's The Baltimore Waltz, 1992 The Story of the PlayChapter 14: European Theatre after 1950 Objectives Context GermanyGreat BritianFranceItaly Poland European Theatre After World War II Had Wide ImpactSummary Key Terms Captions The Play’s the Thing: Caryl Churchill's Top Girls, 1982 The Story of the Play Chapter 15: Theatre in Asia from 1800 Objectives Context IndiaChinese Theater after 1790Later Japanese TheatreSummary Key Terms Captions The Play’s the Thing: Tragore’s The Post Office, 1924 Chapter 16: Globalization of Theatre Objectives Context Musicals in Asia Other International Musical Successes Techniques and Styles Non-European Theatre in Western Countries Global ShakespeareBelarus Free TheatreIs Globalization Theatre’s Destiny?Summary Key Terms Captions

Jim Patterson is a co-author of Stage Money: The Business of Professional Theater, Theater Careers: A Realistic Guide, Theatre in the Secondary School Classroom, and the seventh, eighth, and ninth editions of The Enjoyment of Theatre. He also wrote Stage Directing: The First Experiences. Jim Patterson spent three decades teaching at the University of South Carolina, where he headed the MFA directing program, served as Director of Undergraduate Studies, and directed the department’s summer theatre program. Now a Distinguished Professor Emeritus, Jim has been recognized for his work by the South Carolina Theatre Association and the South Carolina Speech Communication Association. He has directed over 140 stage productions plus numerous training films. He is a member of the Stage Directors and Choreographers Society.Tim Donahue is co-author of Stage Money: The Business of the Professional Theater, Theater Careers: A Realistic Guide, and the ninth edition of The Enjoyment of Theatre. He holds an M.B.A. from the University of South Carolina, where he retired from the Department of Theatre and Dance as the director of marketing and development after nearly ten years.

• In this Section:1) Brief Table of Contents2) Full Table of Contents 1) Brief Table of Contents Introduction: The Theatre of Many Times and PlacesChapter 1: Greek Theatre Chapter 2: Roman Theatre 240 BCE - 550 CE Chapter 3: Early Theatre of Asia 200 BCE - 1800 CE Chapter 4: The European Middle Ages Chapter 5: The Italian RenaissanceChapter 6: The Golden Ages of England and Spain Chapter 7: Neoclassicism: Triumph and Decline in France and EnglandChapter 8: Melodrama and The Rise of Commercialism 1750 - 1900Chapter 9: Romanticism and Realism 1750 — 1900Chapter 10: Theatre in AfricaChapter 11: Reactions to Commercialism and Realism 1900-1950Chapter 12: Musical Theatre Chapter 13: Eclecticism: U.S. Theatre from 1950Chapter 14: European Theatre after 1950Chapter 15: Theatre in Asia from 1800Chapter 16: Globalization of Theatre 2) Full Table of Contents Introduction: The Theatre of Many Times and PlacesThe Past in the Present Theatre: A Definition Language And Its Problems Theatre-Like ActivitiesHistorical Evidence, Emphasis, and Omissions OrganizationChapter 1: Greek Theatre Objectives Context Theories of the Origins of TheatreTraits of Greek TheatrePlays and PlaywrightsTheatre Buildings and PracticesThe Hellenistic PeriodThe Shift to Rome Chapter 1 at a Glance Key Terms Captions The Play’s the Thing: Sophocles’ Oedipus Rex, 427 BCE The Story of the Play How We Know: Paintings on Greek Vases How We Know: Menander and The GrouchChapter 2: Roman Theatre 240 BCE - 550 CE Objectives Context Roman Festivals and Theatre of the Republic Tragedy and Comedy, Mostly ComedyThree Important TextsTheatre Buildings, Scenery, Costumes, and Masks Paratheatrical Entertainments Christian Opposition to TheatreThe Breakup of the Empire The Eastern (Byzantine) Empire and Theatre Chapter 2 at a Glance Key Terms Captions The Play’s the Thing: Plautus’s The MenaechmiThe Story of the Play How We Know: Theatre in an Ordinary Roman TownChapter 3: Early Theatre of Asia 200 BCE - 1800 CE Objectives Context IndiaChinaJapanSummary Chapter 3 at a Glance Key Terms CaptionsThe Play's the Thing: Shakuntala The Story of the Play The Play's the Thing: Li Xingdao's Chalk Circle The Story of the Play How We Know: Shakuntala’s First TranslationThe Play's the Thing: The Peony Pavilion The Story of the PlayChapter 4: The European Middle Ages Objectives Context Early Medieval Drama and Theatre: 476 to 1200Production inside the Church Later Medieval Culture and Theatre, c. 1200—1550 Religious Drama outside the Church Staging Religious Plays outside the ChurchSecular DramaThe End of Medieval Religious Theatre: The Transformation of Medieval Secular Theatre Summary Chapter 4 at a Glance Key Terms Captions How We Know: Bishop Ethelwold’s Stage Directions for the Quem Quaeritis Trope The Play’s the Thing: The Second Shepherds' Play, Anonymous The Story of the Play How We Know: Pageant Wagons The Play’s the Thing: Everyman, Anonymous, c. 1490 The Story of the Play How We Know: Oberammergau Passion PlayChapter 5: The Italian Renaissance Objectives ContextTheory: NeoclassicismPractice: Italian Renaissance DramaIllusionismRenaissance Theatre StructuresStage Settings for Illusionistic TheatreContradiction in Mainstream Theatre An Alternative Theatre: Commedia dell’ArteItaly: Eclipse Chapter 5 at a Glance Key Terms Captions How We Know: Commedia Scenarios Act One, Flavio's Good Fortune Chapter 6: The Golden Ages of England and Spain Objectives Context England and the Golden AgeCourt Masques and New Conventions: Inigo JonesThe Closing of English TheatresSpain in the Golden AgeSummary Chapter 6 at a Glance Key Terms Captions The Play’s The Thing: Calderon de la Barca’s Life is a Dream, 1635 The Story of the Play How We Know: The Swan Drawing How We Know: Philip Henslowe’s Inventory How We Know: Three Public TheatresChapter 7: Neoclassicism: Triumph and Decline in France and England Objectives Context French Theatre through Its Golden AgeEnglish Restoration Theatre (1660—c. 1750)The Rise of Sentimentalism: 1700–1750Chapter 7 at a Glance Key Terms Captions How We Know: A Forgotten Theatre Recovered The Play’s the Thing: Jean Racine’s Phèdre (Phaedra), 1677 The Story of the Play The Play’s the Thing: Molière’s Tartuffe, 1669 The Story of the PlayChapter 8: Melodrama and The Rise of Commercialism 1750 - 1900 Objectives ContextTheatre Becomes CommercialTheatre in Four Countries, circa 1700 to c 1850Commercial Theatre Develops Actors, ManagersFrom Actor-Managers to ProducersDrama in the Commercial TheatreMelodrama in the Commercial TheatreComedy in the Commercial TheatreReactions to the Commercial Theatre Chapter 8 at a GlanceKey Terms How We Know: Early Theatre Photography Captions The Play’s the Thing: Augustin Daly’s Under the Gaslight, 1867 The Story of the PlayChapter 9: Romanticism and Realism 1750 — 1900 Objectives ContextRomanticism in the TheatreRomanticism in Germany, England, and FranceRomanticism Dwindles An Aftershock: Richard Wagner, a Romantic Artist, Flourishing 1842 to 1882Reform After Romanticism: Realism and Naturalism, from circa 1850 Important Leaders of Realism and NaturalismPlays and Playwrights of RealismSummary Chapter 9 at a Glance Key Terms Captions The Play’s the Thing: Henrik Ibsen’s A Doll’s House, 1879 The Story of the PlayChapter 10: Theatre in Africa Objectives ContextTheatre in Northern Africa Theatre in Sub-Saharan AfricaSummary Key Terms Captions Play’s the Thing: Wole Soyinka, Death and the Kings Horseman, 1976 Story of the Play How We Know: Theatre in Ancient Egypt Chapter 11: Reactions to Commercialism and Realism 1900-1950Objectives Context Revolts Against Realism and CommercialismTwo Influential Theorists Against Commercialism and RealismImportant US Theatre GroupsThe Art Theatre MovementPlaywrights, Sometimes Commercial, Sometimes RealisticTheatre under Occupation and Totalitarianism Commercial Theatre Declines Summary Chapter 11 at a Glance Key Terms Captions The Play’s the Thing: Antonin Artaud’s Jet of Blood, 1924 Story of the Play: Eugene O'Neill's Long Day's Journey into Night, produced 1956 The Story of the Play Chapter 12: Musical Theatre Objectives Context The American Musical EmergesSong Forms Musicals Since 1950Summary Chapter 12 at a Glance Key Terms Captions The Play’s the Thing: Girl Crazy, 1930 The Story of the Musical How We Know: Preserving MusicalsChapter 13: Eclecticism: U.S. Theatre from 1950 ObjectivesContextTheatre Becomes Eclectic: an Overview Professional TheatrePlays Since 1950The Political Avant-Garde in TheatreThe Artistic Avant-Garde in TheatreThe Avant-garde Fades Identity Theatre EmergesAbsurdism, Performance Art, and PostmodernismTheatrical Responses to 9/11 and New WarsThe Cultural Displacement of Theatre The Play’s the Thing: Tyler Perry and the Chitlin’ Circuit How We Know: Theatre on Film and Tape Archive Key Terms Captions The Play’s the Thing: August Wilson’s Century of African American Life The Play’s the Thing: Tennessee Williams’s A Streetcar Named Desire, 1947 The Story of the Play The Play's the Thing: Paula Vogel's The Baltimore Waltz, 1992 The Story of the PlayChapter 14: European Theatre after 1950 Objectives Context GermanyGreat BritianFranceItaly Poland European Theatre After World War II Had Wide ImpactSummary Key Terms Captions The Play’s the Thing: Caryl Churchill's Top Girls, 1982 The Story of the Play Chapter 15: Theatre in Asia from 1800 Objectives Context IndiaChinese Theater after 1790Later Japanese TheatreSummary Key Terms Captions The Play’s the Thing: Tragore’s The Post Office, 1924 Chapter 16: Globalization of Theatre Objectives Context Musicals in Asia Other International Musical Successes Techniques and Styles Non-European Theatre in Western Countries Global ShakespeareBelarus Free TheatreIs Globalization Theatre’s Destiny?Summary Key Terms Captions

Jim Patterson is a co-author of Stage Money: The Business of Professional Theater, Theater Careers: A Realistic Guide, Theatre in the Secondary School Classroom, and the seventh, eighth, and ninth editions of The Enjoyment of Theatre. He also wrote Stage Directing: The First Experiences. Jim Patterson spent three decades teaching at the University of South Carolina, where he headed the MFA directing program, served as Director of Undergraduate Studies, and directed the department’s summer theatre program. Now a Distinguished Professor Emeritus, Jim has been recognized for his work by the South Carolina Theatre Association and the South Carolina Speech Communication Association. He has directed over 140 stage productions plus numerous training films. He is a member of the Stage Directors and Choreographers Society.Tim Donahue is co-author of Stage Money: The Business of the Professional Theater, Theater Careers: A Realistic Guide, and the ninth edition of The Enjoyment of Theatre. He holds an M.B.A. from the University of South Carolina, where he retired from the Department of Theatre and Dance as the director of marketing and development after nearly ten years.

• In this Section:1) Brief Table of Contents2) Full Table of Contents 1) Brief Table of Contents Introduction: The Theatre of Many Times and PlacesChapter 1: Greek Theatre Chapter 2: Roman Theatre 240 BCE - 550 CE Chapter 3: Early Theatre of Asia 200 BCE - 1800 CE Chapter 4: The European Middle Ages Chapter 5: The Italian RenaissanceChapter 6: The Golden Ages of England and Spain Chapter 7: Neoclassicism: Triumph and Decline in France and EnglandChapter 8: Melodrama and The Rise of Commercialism 1750 - 1900Chapter 9: Romanticism and Realism 1750 — 1900Chapter 10: Theatre in AfricaChapter 11: Reactions to Commercialism and Realism 1900-1950Chapter 12: Musical Theatre Chapter 13: Eclecticism: U.S. Theatre from 1950Chapter 14: European Theatre after 1950Chapter 15: Theatre in Asia from 1800Chapter 16: Globalization of Theatre 2) Full Table of Contents Introduction: The Theatre of Many Times and PlacesThe Past in the Present Theatre: A Definition Language And Its Problems Theatre-Like ActivitiesHistorical Evidence, Emphasis, and Omissions OrganizationChapter 1: Greek Theatre Objectives Context Theories of the Origins of TheatreTraits of Greek TheatrePlays and PlaywrightsTheatre Buildings and PracticesThe Hellenistic PeriodThe Shift to Rome Chapter 1 at a Glance Key Terms Captions The Play’s the Thing: Sophocles’ Oedipus Rex, 427 BCE The Story of the Play How We Know: Paintings on Greek Vases How We Know: Menander and The GrouchChapter 2: Roman Theatre 240 BCE - 550 CE Objectives Context Roman Festivals and Theatre of the Republic Tragedy and Comedy, Mostly ComedyThree Important TextsTheatre Buildings, Scenery, Costumes, and Masks Paratheatrical Entertainments Christian Opposition to TheatreThe Breakup of the Empire The Eastern (Byzantine) Empire and Theatre Chapter 2 at a Glance Key Terms Captions The Play’s the Thing: Plautus’s The MenaechmiThe Story of the Play How We Know: Theatre in an Ordinary Roman TownChapter 3: Early Theatre of Asia 200 BCE - 1800 CE Objectives Context IndiaChinaJapanSummary Chapter 3 at a Glance Key Terms CaptionsThe Play's the Thing: Shakuntala The Story of the Play The Play's the Thing: Li Xingdao's Chalk Circle The Story of the Play How We Know: Shakuntala’s First TranslationThe Play's the Thing: The Peony Pavilion The Story of the PlayChapter 4: The European Middle Ages Objectives Context Early Medieval Drama and Theatre: 476 to 1200Production inside the Church Later Medieval Culture and Theatre, c. 1200—1550 Religious Drama outside the Church Staging Religious Plays outside the ChurchSecular DramaThe End of Medieval Religious Theatre: The Transformation of Medieval Secular Theatre Summary Chapter 4 at a Glance Key Terms Captions How We Know: Bishop Ethelwold’s Stage Directions for the Quem Quaeritis Trope The Play’s the Thing: The Second Shepherds' Play, Anonymous The Story of the Play How We Know: Pageant Wagons The Play’s the Thing: Everyman, Anonymous, c. 1490 The Story of the Play How We Know: Oberammergau Passion PlayChapter 5: The Italian Renaissance Objectives ContextTheory: NeoclassicismPractice: Italian Renaissance DramaIllusionismRenaissance Theatre StructuresStage Settings for Illusionistic TheatreContradiction in Mainstream Theatre An Alternative Theatre: Commedia dell’ArteItaly: Eclipse Chapter 5 at a Glance Key Terms Captions How We Know: Commedia Scenarios Act One, Flavio's Good Fortune Chapter 6: The Golden Ages of England and Spain Objectives Context England and the Golden AgeCourt Masques and New Conventions: Inigo JonesThe Closing of English TheatresSpain in the Golden AgeSummary Chapter 6 at a Glance Key Terms Captions The Play’s The Thing: Calderon de la Barca’s Life is a Dream, 1635 The Story of the Play How We Know: The Swan Drawing How We Know: Philip Henslowe’s Inventory How We Know: Three Public TheatresChapter 7: Neoclassicism: Triumph and Decline in France and England Objectives Context French Theatre through Its Golden AgeEnglish Restoration Theatre (1660—c. 1750)The Rise of Sentimentalism: 1700–1750Chapter 7 at a Glance Key Terms Captions How We Know: A Forgotten Theatre Recovered The Play’s the Thing: Jean Racine’s Phèdre (Phaedra), 1677 The Story of the Play The Play’s the Thing: Molière’s Tartuffe, 1669 The Story of the PlayChapter 8: Melodrama and The Rise of Commercialism 1750 - 1900 Objectives ContextTheatre Becomes CommercialTheatre in Four Countries, circa 1700 to c 1850Commercial Theatre Develops Actors, ManagersFrom Actor-Managers to ProducersDrama in the Commercial TheatreMelodrama in the Commercial TheatreComedy in the Commercial TheatreReactions to the Commercial Theatre Chapter 8 at a GlanceKey Terms How We Know: Early Theatre Photography Captions The Play’s the Thing: Augustin Daly’s Under the Gaslight, 1867 The Story of the PlayChapter 9: Romanticism and Realism 1750 — 1900 Objectives ContextRomanticism in the TheatreRomanticism in Germany, England, and FranceRomanticism Dwindles An Aftershock: Richard Wagner, a Romantic Artist, Flourishing 1842 to 1882Reform After Romanticism: Realism and Naturalism, from circa 1850 Important Leaders of Realism and NaturalismPlays and Playwrights of RealismSummary Chapter 9 at a Glance Key Terms Captions The Play’s the Thing: Henrik Ibsen’s A Doll’s House, 1879 The Story of the PlayChapter 10: Theatre in Africa Objectives ContextTheatre in Northern Africa Theatre in Sub-Saharan AfricaSummary Key Terms Captions Play’s the Thing: Wole Soyinka, Death and the Kings Horseman, 1976 Story of the Play How We Know: Theatre in Ancient Egypt Chapter 11: Reactions to Commercialism and Realism 1900-1950Objectives Context Revolts Against Realism and CommercialismTwo Influential Theorists Against Commercialism and RealismImportant US Theatre GroupsThe Art Theatre MovementPlaywrights, Sometimes Commercial, Sometimes RealisticTheatre under Occupation and Totalitarianism Commercial Theatre Declines Summary Chapter 11 at a Glance Key Terms Captions The Play’s the Thing: Antonin Artaud’s Jet of Blood, 1924 Story of the Play: Eugene O'Neill's Long Day's Journey into Night, produced 1956 The Story of the Play Chapter 12: Musical Theatre Objectives Context The American Musical EmergesSong Forms Musicals Since 1950Summary Chapter 12 at a Glance Key Terms Captions The Play’s the Thing: Girl Crazy, 1930 The Story of the Musical How We Know: Preserving MusicalsChapter 13: Eclecticism: U.S. Theatre from 1950 ObjectivesContextTheatre Becomes Eclectic: an Overview Professional TheatrePlays Since 1950The Political Avant-Garde in TheatreThe Artistic Avant-Garde in TheatreThe Avant-garde Fades Identity Theatre EmergesAbsurdism, Performance Art, and PostmodernismTheatrical Responses to 9/11 and New WarsThe Cultural Displacement of Theatre The Play’s the Thing: Tyler Perry and the Chitlin’ Circuit How We Know: Theatre on Film and Tape Archive Key Terms Captions The Play’s the Thing: August Wilson’s Century of African American Life The Play’s the Thing: Tennessee Williams’s A Streetcar Named Desire, 1947 The Story of the Play The Play's the Thing: Paula Vogel's The Baltimore Waltz, 1992 The Story of the PlayChapter 14: European Theatre after 1950 Objectives Context GermanyGreat BritianFranceItaly Poland European Theatre After World War II Had Wide ImpactSummary Key Terms Captions The Play’s the Thing: Caryl Churchill's Top Girls, 1982 The Story of the Play Chapter 15: Theatre in Asia from 1800 Objectives Context IndiaChinese Theater after 1790Later Japanese TheatreSummary Key Terms Captions The Play’s the Thing: Tragore’s The Post Office, 1924 Chapter 16: Globalization of Theatre Objectives Context Musicals in Asia Other International Musical Successes Techniques and Styles Non-European Theatre in Western Countries Global ShakespeareBelarus Free TheatreIs Globalization Theatre’s Destiny?Summary Key Terms Captions