The politics, aesthetics and logistics of a form of popular performancethe British working-class pageant "Music and the People," mounted in London in Apr 1939and the tripartite five-day festival of which it formed a part are discussed.
Some findings from ten years of experimentation with recording formats and analysisurging the need for action by theater practitioners, funding authorities and university researchers to ensure that the theatrical output of another generation is not lostare reported.
A general summary of chaos theory is presented and applied to Henrik Ibsen's "The Master Builder," and ways in which Ibsen anticipates the postmodernists are suggested. Chaos theory can help explain several paths that the theater has followed since postmodernism's inception.
The general state of theater produced for both the formal and informal education sectors is examined through an analysis of the UK's Education Reform Act of 1988 and the effect of Youth Service policies on theater.
Peter Brook's dramas "Impressions de Pelleas" and "L'Homme qui" mark a new position for the dramatist. The words and the music of the two plays offer a "stillness" wherin lies the great loneliness of human suffering.
Although "The Tempest," Shakespeare's last unaided play, is considered the culmination of his career, it has been very hard to actually stage. The certain aspects of the play that cause theatrical problems are discussed.
The qualities of Shakespeare in performance and Elizabethan playtexts in general are examined through the exploration of Jatraor touringtheatres in Asia. Elizabethan actors must have found the necessary concentration for performance that the Jatra performer achieve through their spirituality.
In an interview, theater historian Bruce A. McConachie discusses his notion of postpositivist theater, which requires that critics and historians examine theater within its larger socio-cultural contexts.