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This book introduces the elements of drama and the principles behind the reading and study of plays - classical and modern. It makes a special point of seeing drama as intended for acting and performance, and it therefore emphasizes the role of the spectator at a play and the sort of theatre for which drama was written. The performance approach to the study of plays finally clarifies the different kinds of drama (comedy, tragedy, melodrama, and farce) and identifies its forms (realism, stylization, and symbolism). The book draws on specific examples of drama, is rich in helpful charts and...

The English Stage tells the story of English drama through its many changes in style and convention from medieval times to the present day. John Styan analyzes the key features of staging, including early street theater and public performance, the evolution of the playhouse and the private space, and the pairing of theory and stagecraft in the works of modern dramatists. Giving a critical performance analysis, the author closely examines a few key plays from each age to demonstrate how they succeed on stage. He also focuses on several major playwrights--Marlowe, Shakespeare, Jonson, and...

Professor Styan examines what a play is as well as understanding the dramatist's intentions towards this medium.

This book shows how a play 'works' in the theatre: how it generates life, meaning and excitement on the stage for the audience. It is self evident that a play must communicate or it is not a play at all. Professor Styan argues that, while communication in drama begins with the script, the value or power of a play must be tested upon an audience. In the theatre experience, it is not so much the elements of drama on the stage or the perceptions of the audience which are important, as the relationships between them. It follows that the study of drama is the study of how the stage compels its...

This book was first published in 1981. The theories of Wagner and Nietzsche provide the basic principles for this volume, disseminated by the work of Appia and Craig, and affecting the later plays of Ibsen, Maeterlinck, and Lugne-Poe's Theatre de Le'Oeuvre. Jarry is seen as the precursor of surrealism; later symbolist elements are found in the plays of Claudel, Giraudoux, Yeats, Eliot, Lorca and Pirandello. Artaud's theatre of cruelty is related to the work of Peter Brook. The theatre of the absurd is illustrated in Sartre, Beckett, Pinter and Ionesco. Recent avant-garde theatre in America...