George W. Brandt – författare

Modern Theories of Drama concentrates on the developments in dramatic theory over the last 150 years, providing a crucial resource for students of drama and theatre studies. From Aristotle's Poetics onwards, drama - especially 'serious' drama - has been encased in a framework of theory, although the more popular forms of theatre have often chosen to ignore this. However, from the eighteenth century until the present day, theoretical questioning of the 'rules' (Aristotelian and other) has constantly grown in scope and strength. This attack was to become more and more vigorous in the second half of the nineteenth century and reach gale force in the twentieth. Different audience profiles and new performance venues; innovative methods of presentation; a changing sense of the purposes of drama and of its philosophical content, have resulted in the striking instability of theory which confronts us today. Quite new concepts have arisen in this century, seemingly outdated ones have been resurrected.

Modern Theories of Drama concentrates on the developments in dramatic theory over the last 150 years, providing a crucial resource for students of drama and theatre studies. From Aristotle's Poetics onwards, drama - especially 'serious' drama - has been encased in a framework of theory, although the more popular forms of theatre have often chosen to ignore this. However, from the eighteenth century until the present day, theoretical questioning of the 'rules' (Aristotelian and other) has constantly grown in scope and strength. This attack was to become more and more vigorous in the second half of the nineteenth century and reach gale force in the twentieth. Different audience profiles and new performance venues; innovative methods of presentation; a changing sense of the purposes of drama and of its philosophical content, have resulted in the striking instability of theory which confronts us today. Quite new concepts have arisen in this century, seemingly outdated ones have been resurrected.

This is the third volume to be published in the series Theatre in Europe. This book makes available for the first time an overview of a significant segment of European theatre history and, with few exceptions, none of the documents presented have been published in English before. Gathered from a rich variety of sources, including imperial and municipal edicts, contracts, architectural descriptions, playbills, stage directions and actors' memoirs among others, the book sheds light on one of the most fascinating areas of cultural life in the German- and Dutch-speaking countries. Explanatory passages put these documents into their historical context, and numerous illustrations bring the material even more vividly to life. Also included is the source location for each document and a substantial bibliography.

This is the third volume to be published in the series Theatre in Europe. This book makes available for the first time an overview of a significant segment of European theatre history and, with few exceptions, none of the documents presented have been published in English before. Gathered from a rich variety of sources, including imperial and municipal edicts, contracts, architectural descriptions, playbills, stage directions and actors' memoirs among others, the book sheds light on one of the most fascinating areas of cultural life in the German- and Dutch-speaking countries. Explanatory passages put these documents into their historical context, and numerous illustrations bring the material even more vividly to life. Also included is the source location for each document and a substantial bibliography.

This is the first book to examine an outstanding decade of British television drama. The 1980s witnessed a series of changes and innovation in television, in which a fourth channel was established, studio production largely gave way to location filming, and programmes reflected key political events. In this fascinating collection of twelve essays, the innovative programmes of the period are analysed and placed within their social and political contexts. The writers analyse programmes as di