David Wiles boldly reframes democracy as a form of theatre, moving from Athens to the English, French, and American revolutions, and to Indian independence, exploring how democracy really works. Engagingly written, his book will reshape thinking for students and general readers in theatre, history and political science alike.
Explores the art of acting in Europe between the sixteenth and eighteenth centuries, demonstrating how stage acting was understood as a branch of rhetoric. This book distinguishes the methods of professionals from the theories of intellectual amateurs, and argues that the present has much to learn from premodern debates.
This book provides a vivid picture of the Drottningholm Court Theatre: the architecture, the many different activities which took place here during the Gustavian era, and the use made of the theatre since its rediscovery to explore the nature of Baroque performance.
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 of the body and individual memories - have impacted on and been reinforced by theatre throughout history, from medieval times to the present day.
Focusing on contemporary political issues, this work offers a thought-provoking analysis of theatre history and its role in society. It delves into how theatre has been influenced by and responds to social concerns, providing a critical perspective on its significance in shaping cultural narratives.
Exploring the significance of masks in Greek theatre, this study delves into their role in transformation rather than as standalone objects. Wiles analyzes ancient evidence and contrasts it with twentieth-century theatrical practices, highlighting a tension between possession and alienation. He argues against separating the political and religious aims of Greek tragedy, suggesting that understanding masks reveals the dual focus of Greek acting on both text and body. This work challenges traditional views on the relationship between theatre and ritual, offering fresh insights into the actor's creative process.
David Wiles considers theatrical activity "happening" in churches, streets, pubs and galleries, as well as in buildings explicitly designed to be "theaters", in this historical account. Surveying performance space usage within the traditions of Western Europe, Wiles traces a diverse set of continuities, from Greece and Rome to the present, including many areas not included in standard accounts of theater history.
The study delves into the intricacies of Greek tragedy as it was performed in classical Athenian theatre, exploring the cultural, social, and artistic elements that shaped these dramatic works. It highlights the significance of performance practices, audience engagement, and the historical context that influenced the evolution of tragedy in ancient Greece. Through detailed analysis, the book provides insights into the enduring legacy of these theatrical traditions.
The narrative centers on Will Kemp, a prominent clown of Shakespeare's time, exploring how playwrights crafted unique roles tailored for his comedic talents. It delves into the interplay between Kemp's performances and the evolution of theatrical comedy, highlighting his influence on the works of Shakespeare and his contemporaries. The book offers insights into the artistry of role creation in the context of Elizabethan theatre, showcasing the significance of Kemp's contributions to the dramatic arts.
Focusing on the art of performance in ancient Greek and Roman theatre, the book explores the significance of the mask in acting, highlighting the advanced techniques of mask-making. It analyzes how audiences interpreted various elements like costume, voice, and movement, while contrasting Greek New Comedy with other comedic traditions. Additionally, the author examines how Roman performance conventions reflect differing views on religion, marriage, and class. This work provides a fresh perspective for theatre historians, classicists, and archaeologists studying ancient theatrical practices.