Robert Cohen - Theatre, Brief Version-McGraw-Hill Education (2016)

I-14 Index
plays—Cont.
metatheatre (or metadrama), 314
as part of horizontal axis timeline, 31–32
“plays” origins, 11
relationship to the theatre itself, 313–314
social significance, 311
structure of, 74
timeline context of, 31–32
unique characteristics of, 21
written as a series of events with
continuity, 63
playwrights
David Henry Hwang, 76
experience of being a, 59–60
Neil LaBute photo essay, 78–80
our common experience of being, 60
qualities of a fine play written by a,
63–72
rewards of, 74
Sarah Ruhl, 61, 83–85
Suzan-Lori Parks, 76–77, 81
Theresa Rebeck, 82–83
Tony Kushner, 74–76
writing dialogue that are pretexts for great
acting, 62
writing process of, 72–74
Playwright’s Horizons, 62, 83, 288, 289, 291
playwright’s process, 72–73
developing the play’s structure, 74
transcription of dialogue, 73
writing scenes of conflict, 73
playwriting
as event writing, 61–63
by gay dramatists, 265
Latina and Latino dramatists, 260, 262, 263,
264, 264
literary and nonliterary aspects of, 60–61
process of, 72–74
success of women in, 257–258
talented black writers entering field of,
258–259
as work of the theatre, 11
See also dramaturgy
plot (tragedy), 27
Podalydès, Denis, 205
Poe, Edgar Allan, 221
Poetics (Aristotle), 20, 194
Pohl, Jörg, 273
Polanski, Roman, 304
political satire, Serious Money (Churchill),
237–239, 238
Polus (ancient Roman actor), 39
Pond, Teresa, 285
Poor Behavior (Rebeck), 82
Popil, Ofelia, 303
Porgy and Bess (Gershwin and Gershwin), 154,
244, 244, 249–250
Poromaskers (Senufo tribe, West Africa’s Ivory
Coast), 192
Porter, Cole
Anything Goes, 242, 243
DuBarry Was a Lady, 243
Kiss Me Kate, 245
La Posada Mágica (The Magic Journey) [Solis],
263
Posner, Lindsay, 90
postmodern design/scenery, 94
postmodernism, 223
postplay
definition of dramatic, 35
as part of horizontal axis timeline, 35–36
postwar alienation
Bertolt Brecht’s theatre of alienation,
233–235, 241
Samuel Beckett’s theatre of the absurd,
232–233
Potts, Michael, 254
Povinelli, Mark, 217
Powell, Louella, 177
Pratt, Chris, 13
preplay
description of, 31
as part of horizontal axis timeline, 31
“presence,” 48
presentational performance
description of, 15
The Producers as example of, 14
Priene (ancient Greek theatre), 195
Prince, Hal, 149–150
Prince, Harold, 174
Private Lives (Coward), 109
producers, 153
The Producers (Brooks), 2, 14, 248, 252,
313, 318
The Producers (Stroman’s 2001 production),
149, 149, 150, 281
producing
definition of, 10
production stage managers (PSMs) role in,
138–141
production stage managers (PSMs)
description and duties of the, 138, 141
Lisa Iacucci’s work as, 139–140
professional criticism, 316–317
projections
The Curious Incident of the Dog in the Night-
Time (Stephens), 133
development and current use of,
134–135
growth and reception of, 135–136
Sunday in the Park in the Park with George
(Sondheim), 135
Prometheus Bound (Aeschylus), 96–97, 116
Proof (Auburn), 288
properties (props), 98–99
protagonist (carrier of the action), 22–23
psychological instrument, 54–55
Public Theatre (New York), 76, 77, 80, 81, 82
Puccini, Giacomo, Madama Butterfly, 260
Puls, Wiebke, 166
Punchdrunk company (England), 286, 286
puppet performance, 283–284
bunraku (puppet-theatre), 133, 211, 213
historic and modern, 133–134
Indonesian wayang kulit (shadow puppet),
30, 283
Julie Taymor’s contributions to, 115, 133,
250, 252, 284
The Lion King (musical), 94, 115, 133, 242,
250, 252
War Horse, 133, 134, 136
See also performance
Purcarete, Silviu, 299
Les Danaïdes production, 196
Faust production by, 300
high concept productions by, 157
Metamorphosis staging by, 304
Waiting for Godot production by, 91
“Walpurgisnacht” scene in Faust production,
303
Py, Olivier, 162
Pygmalion (Shaw), 245
Quem Queritis (Whom seek ye), 197, 276
evolution of language and costumes used in,
116
Quintilian (Roman orator), 39–40, 45
Rabbit Hole (Lindsay-Abaire), 62, 291
Racine, Jean, great tragedies written by, 204
Radcliffe, Daniel, 18, 41
Radu Stanca National Theatre, 156
Raine, Nina, Tribes, 267
A Raisin in the Sun (Hansberry), 62, 258
Ramayana (Indian epic), 207
Randall Theatre, 180
Rannells, Andrew, 254
Ranson, Malcolm, 167
Raphael, 107
Rapley, Chris, 309
Die Rasenden (“The Madman”), 313
Rattray, Paul, 274
Rauch, Bill
All the Way directed by, 16
The Clean House directed by, 83
founding of Cornerstone Theatre, 278
Ravenhill, Mark
as English dramatist, 295
Shopping and Fucking, 274, 276
Re-Animator: The Musical (Gordon), 135, 136
Rea, Stephen, 125
Real Women Have Curves (López), 260
realism theatre
directors of, 146
A Doll’s House (Ibsen) example of,
217, 217
Henrik Ibsen as pioneer of, 217–218
historical accuracy in design of, 116–117
as laboratory to examine relationships or
society, 215–217
“likeness to life” characteristic of, 215–216
naturalism parallel to, 219–220
in representational performance, 15–16
success of, 217
realistic scenery, 91, 92
reasons to be happy (LaBute), 78
reasons to be pretty (LaBute), 78
Rebeck, Theresa
Bad Dates, 83
The Crown, 82
Dead Accounts, 82
early life and career of, 82–83
Fever, 82
Poor Behavior, 82
The Scene, 83
Seminar, 83
Spike Heels, 83
TV script writing by, 82
Zealot, 82, 82
Red (Logan), 12
Redcat Theatre (Los Angeles), 132
Redgrave, Sir Michael, 119
Redon, Odilon, 221
regional American theatre, 289, 290–292, 290
The Rehearsal (Anouilh), 314
The Rehearsal at Versailles (Molière), 145
rehearsals
actor-coaching during, 169–170
actors and, 56–57
director coordinating during, 172–173
directors tasks and during, 166–173
of pacing, 170–172
publicity photographs taken during, 170
staging during, 166–169