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Büchner is the forerunner of expression, followed by Wedekind and Strindberg. The style is then traced from Kaiser and Toller to O'Neill, Wilder and the later O'Casey. Important producers are Reinhardt and Meyerhold. Epic theatre is studied from Piscator and Brecht to Dürrenmatt and Weiss, Arden and Bond, and is seen as flourishing in the more recent offshoots of documentary theatre.
Book Description
Büchner is the forerunner of expression, followed by Wedekind and Strindberg. The style is then traced from Kaiser and Toller to O'Neill, Wilder and the later O'Casey. Important producers are Reinhardt and Meyerhold. Epic theatre is studied from Piscator and Brecht to Dürrenmatt and Weiss, Arden and Bond, and is seen as flourishing in the more recent offshoots of documentary theatre.
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In the view of the art critic Herbert Read, expressionism is 'one of the basic modes of perceiving and representing the world around us'. Read the first page
Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
In the view of the art critic Herbert Read, expressionism is 'one of the basic modes of perceiving and representing the world around us'. Read the first page
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Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
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2 of 2 people found the following review helpful
Format:Paperback
This is the third volume of the Modern Drama in Theory and Practice series by J. L. Styan, and it explores the development of Expressionism and Epic Theatre. The book starts with a brief introduction, analysing the definition and origins of expressionism and its historical, social, philosophical and theatrical background and then it explores the work of specific theatre practitioners of Expressionism and Epic Theatre, although I do have to mention that emphasis is given on expressionism. The work of the practitioners is usually focused on one or two specific plays or performances, and is seen in relation to their time and society, and to the theoretical and practical influence this work had on theatre history. Starting from the work of Buchner and Wedekind and their influence on the development of expressionism, and ending with the productions of Epic Theatre in Britain in the 1960s and the 1970s, it explores all major playwrights and directors in between; among others, expressionists Strindberg, Kaiser, Toller, Reinhardt, Meyerhold, O'Neill, O'Casey, Williams and practitioners of the Epic Theatre like Piscator and Brecht.
A great addition is that at the end of the book there is a very useful timetable of Events in the Theatre showing World Events, Writers, Artists and Events in the Theatre, and Plays and Productions. All the entries of the timetable that are subject of this volume are in bold type. Also the book has an excellent bibliography list at the end.
Even though the book was written in the early 1980s and for a reference book in theatre history is rather dated, it is a very well written and a very concise history of theatrical theory and practice, and therefore extremely useful for anyone interested in theatre. The two remaining volumes that complement this book are Modern Drama in Theory and Practice 1: Realism and Naturalismand Modern Drama in Theory and Practice 2 Symbolism , Surrealism and the Absurd.
A great addition is that at the end of the book there is a very useful timetable of Events in the Theatre showing World Events, Writers, Artists and Events in the Theatre, and Plays and Productions. All the entries of the timetable that are subject of this volume are in bold type. Also the book has an excellent bibliography list at the end.
Even though the book was written in the early 1980s and for a reference book in theatre history is rather dated, it is a very well written and a very concise history of theatrical theory and practice, and therefore extremely useful for anyone interested in theatre. The two remaining volumes that complement this book are Modern Drama in Theory and Practice 1: Realism and Naturalismand Modern Drama in Theory and Practice 2 Symbolism , Surrealism and the Absurd.
2 of 2 people found the following review helpful
Format:Paperback
Often I find when reading books that trace theoretical beginnings to be a mere recollection of events. Although this book is built on a chronological order of happenings, and all are explained; Styan gives explaination of WHY this or that falls within a certain movement, ect. Bibliographical references are perfect for further reading on topics covered
A slight downside is the fact that there are 13 chapter dedicated to expressionism and only 6 to epic theatre. Also the breadth of theatre covered is possibly not as diverse as that in vol.2
Volume 3 is good as a standalone book aswell as being complementary to the other volumes.
A slight downside is the fact that there are 13 chapter dedicated to expressionism and only 6 to epic theatre. Also the breadth of theatre covered is possibly not as diverse as that in vol.2
Volume 3 is good as a standalone book aswell as being complementary to the other volumes.
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