This fascinating account of the relationship between theatre and time explores how different concepts of time - including linear clock time, the cyclical time of the planets and seasons, the rhythms o
This innovative book provides a historical account of performance space within the theatrical traditions of western Europe. David Wiles takes a broad-based view of theatrical activity as something that occurs in churches, streets, pubs and galleries as much as in buildings explicitly designed to be 'theatres'. He traces a diverse set of continuities from Greece and Rome to the present, including many areas that do not figure in standard accounts of theatre history. Drawing on the cultural geography of Henri Lefebvre, the book identifies theatrical performances as spatial practices characteristic of particular social structures. It is not a history of contexts for dramatic literature, but the history of an activity rooted in bodies and environments. Wiles uses this historical material to address a pressing concern of the present: is theatre better performed in modern architect-designed, apparently neutral empty spaces, or characterful 'found' spaces?
This book provides a detailed analysis of the conventions and techniques of performance characteristic of the Greek theatre of Menander and the subsequent Roman theatre of Plautus and Terence. Drawing on literary and archaeological sources, and on scientific treatises, David Wiles identifies the mask as crucial to the actor's art, and shows how sophisticated the art of the mask-maker became. He also examines the other main elements which the audience learned to decode: costume, voice, movement, etc. In order to identify features that were unique to Hellenistic theatre he contrasts Greek New Comedy with other traditions of masked comedy, and shows how different Roman conventions of performance rest upon different underlying assumptions about religion, marriage and class. David Wiles offers theatre historians and classicists a radical new approach to reading play texts. His book will also be useful to archaeologists seeking to understand what masks mean and how Greek and Roman theatres
Citizenship is a contested term which today inspires both policy-makers and radical activists. David Wiles traces this ideal to its classical roots, examining both theatre and citizenship as performative practices. Wiles examines how people function collectively rather than as individuals, for example through choruses or crowd behaviour in the auditorium. He explores historic tensions between the passivity of the spectator and the active engagement of a citizen, paying special attention to dramatists like Aristophanes, Machiavelli and Rousseau who have translated political theory into a theatre of, and for, active citizens. The book is a fresh investigation of familiar and less familiar landmarks of theatre history, revealing how plays function as social and political events. In this original approach to theatre history, Wiles argues that theatre is a powerful medium to build communities, and that attempts to use it as a vehicle for education are very often misplaced.
Why did Greek actors in the age of Sophocles always wear masks? In this book, first published in 2007, David Wiles provided the first book-length study of this question. He surveys the evidence of vases and other monuments, arguing that they portray masks as part of a process of transformation, and that masks were never seen in the fifth century as autonomous objects. Wiles goes on to examine experiments with the mask in twentieth-century theatre, tracing a tension between the use of masks for possession and for alienation, and he identifies a preference among modern classical scholars for alienation. Wiles declines to distinguish the political aims of Greek tragedy from its religious aims, and concludes that an understanding of the mask allows us to see how Greek acting was simultaneously text-centred and body-centred. This book challenges orthodox views about how theatre relates to ritual, and provides insight into the creative work of the actor.
In this fascinating and accessible book, David Wiles introduces ancient Greek theatre to students and enthusiasts interested in knowing how the plays were performed. Theatre was a ceremony bound up with fundamental activities in ancient Athenian life and Wiles explores those elements which created the theatre of the time. Actors rather than writers are the book's main concern and Wiles examines how the actor used the resources of story-telling, dance, mask, song and visual action to create a large-scale event that would shape the life of the citizen community. The book assumes no prior knowledge of the ancient world, and is written to answer the questions of those who want to know how the plays were performed, what they meant in their original social context, what they might mean in a modern performance and what can be learned from and achieved by performances of Greek plays today.
Citizenship is a contested term which today inspires both policy-makers and radical activists. David Wiles traces this ideal to its classical roots, examining both theatre and citizenship as performative practices. Wiles examines how people function collectively rather than as individuals, for example through choruses or crowd behaviour in the auditorium. He explores historic tensions between the passivity of the spectator and the active engagement of a citizen, paying special attention to dramatists like Aristophanes, Machiavelli and Rousseau who have translated political theory into a theatre of, and for, active citizens. The book is a fresh investigation of familiar and less familiar landmarks of theatre history, revealing how plays function as social and political events. In this original approach to theatre history, Wiles argues that theatre is a powerful medium to build communities, and that attempts to use it as a vehicle for education are very often misplaced.
Why did Greek actors in the age of Sophocles always wear masks? In this book, first published in 2007, David Wiles provided the first book-length study of this question. He surveys the evidence of vases and other monuments, arguing that they portray masks as part of a process of transformation, and that masks were never seen in the fifth century as autonomous objects. Wiles goes on to examine experiments with the mask in twentieth-century theatre, tracing a tension between the use of masks for possession and for alienation, and he identifies a preference among modern classical scholars for alienation. Wiles declines to distinguish the political aims of Greek tragedy from its religious aims, and concludes that an understanding of the mask allows us to see how Greek acting was simultaneously text-centred and body-centred. This book challenges orthodox views about how theatre relates to ritual, and provides insight into the creative work of the actor.
Scholars, amateur historians and actors have shaped theatre history in different ways at different times and in different places. This Companion offers students and general readers a series of accessible and engaging essays on the key aspects of studying and writing theatre history. The diverse international team of contributors investigates how theatre history has been constructed, showing how historical facts are tied to political and artistic agendas and explaining why history matters to us. Beginning with an introduction to the central narrative that traditionally informs our understanding of what theatre is, the book then turns to alternative points of view - from other parts of the world and from the perspective of performers in fields such as music-theatre and circus. It concludes by looking at how history is written in the 'democratic' age of the Internet and offers a new perspective on theatre history in our globalised world.
This book examines the performance of Greek tragedy in the classical Athenian theatre. Whilst post structuralist criticism of Greek tragedy has tended to focus on the literary text, the analysis of stagecraft and the theatre has been markedly conservative in its methodology. David Wiles corrects that balance, exploring the performance of tragedy as a spatial practice specific to Athenian culture, at once religious and political. Athenian conceptions of space were quite unlike those of the modern world. After reviewing controversies and archaeological data regarding the fifth-century performance space, Wiles turns to the chorus and shows how dance mapped out the space for the purposes of any given play. The book shows how the performance as a whole was organised and, through informative diagrams and accessible analyses, Wiles brings the theatre of Greek tragedy to life.
In this fascinating and accessible book, David Wiles introduces ancient Greek theatre to students and enthusiasts interested in knowing how the plays were performed. Theatre was a ceremony bound up with fundamental activities in ancient Athenian life and Wiles explores those elements which created the theatre of the time. Actors rather than writers are the book's main concern and Wiles examines how the actor used the resources of story-telling, dance, mask, song and visual action to create a large-scale event that would shape the life of the citizen community. The book assumes no prior knowledge of the ancient world, and is written to answer the questions of those who want to know how the plays were performed, what they meant in their original social context, what they might mean in a modern performance and what can be learned from and achieved by performances of Greek plays today.
This book argues that a professional Elizabethan theatre company always contained one actor known as 'the clown'. Its focus is Will Kemp, clown to the Chamberlain's Men from 1594 to 1599 and famed for
Hamlet is a characteristic intellectual more inclined to lecture actors about their craft than listen to them, and is a precursor of Enlightenment figures like Diderot and Lessing. This book is a quest for the voice of early professional actors, drawing on English, French and other European sources to distinguish the methods of professionals from the theories of intellectual amateurs. David Wiles challenges the orthodoxy that all serious discussion of acting began with Stanislavski, and outlines the comprehensive but fluid classical system of acting which was for some three hundred years its predecessor. He reveals premodern acting as a branch of rhetoric, which took from antiquity a vocabulary for conversations about the relationship of mind and body, inside and outside, voice and movement. Wiles demonstrates that Roman rhetoric provided the bones of both a resilient theatrical system and a physical art that retains its relevance for the post-Stanislavskian performer.
The Theatre of Drottningholm—Then and Now tells the story of the Drottningholm Court Theatre, an opera house located at Drottningholm Palace near Stockholm. The theater was rarely used after the death
It may be America’s game, but no one seems to know how or when baseball really started. Theories abound, myths proliferate, but reliable information has been in short supply—until now, wh
Neil Double is a 'conference surrogate,' hired by his clients to attend industry conferences so that they don't have to. It's a life of budget travel, cheap suits, and out-of-town exhibition centers.
Neil Double is a 'conference surrogate,' hired by his clients to attend industry conferences so that they don't have to. It's a life of budget travel, cheap suits, and out-of-town exhibition centers.
