In 1953, Samuel Beckett’s Waiting for Godot premiered at a tiny avant-garde theatre in Paris; within five years, it had been translated into more than twenty languages and seen by more than a million spectators. Its startling popularity marked the emergence of a new type of theatre whose proponents—Beckett, Ionesco, Genet, Pinter, and others—shattered dramatic conventions and...(展开全部)

Known as the "bible" of theatre history, Brockett and Hildy’s History of the Theatre is the most comprehensive and widely used survey of theatre history in the market. This 40 th Anniversary Edition retains all of the traditional features that have made History of the Theatre the most successful text of its kind, including worldwide coverage, more than 530 pho...(展开全部)

铃木忠志（Tadashi Suzuki） 当代世界级戏剧大师，剧坛最具影响力的导演、评论家和思想家之一。他以日本富山县利贺村为根据地创建了铃木利贺剧团（SCOT），一直担任剧团导演，是日本第一个国际性戏剧节“利贺国际戏剧节”发起人，更以独创的铃木演员训练法闻名于世。 早在1970年代初期，铃木忠志就在国际上奠定了前沿戏剧导演的地位，一直以来维持着旺盛的创作力。多年来，受邀到世界各地的戏剧学院和剧团亲自教授铃木方法，其中包括纽约茱莉亚音乐学院、莫斯科艺术剧院。 铃木忠志思考和阐述自己戏剧理念的著述丰富。学术和评论界历来对铃木的戏剧创作和理念十分关注，在剑桥大学出版社出版的“20世纪重要导演/戏剧家”丛书中，铃木忠志是与布莱希特、彼得•布鲁克等欧美戏剧名家共同入选的唯一亚洲戏剧家。 译者，李集庆 （Lee Chee Keng），中央戏剧学院导演系博士，...(展开全部)

Throughout theatrical history, almost every element in stage production has been recycled. Indeed any regular theatergoer is familiar with the experience of a performance that conjures the ghosts of previous productions. The Haunted Stage explores this theatrical "deja vu," and examines how it stimulates the spectator's memory. Relating the dynamics of reception to the interact...(展开全部)

Focusing on Ibsen, Strindberg, Chekhov, Shaw, Brecht, Pirandello, O'Neill, and Genet, Mr. Brustein uncovers the roots of the modern theatre in the soil of the rebellion they cultivated. One of the standard and decisive books on the modern theater. --New York Times

How is social action related to aesthetics, and anthropology to theatre? What is the meaning of such concepts as "work," "play, "liminal," and "flow"? In this highly influential book, Turner elaborates on ritual and theatre, persona and individual, role-playing and performing, taking examples from American, European, and African societies for a greater understanding of culture ...(展开全部)

弗•伊•涅米罗维奇－丹钦科（1858—1943），生于格鲁吉亚奥祖尔盖蒂，苏联戏剧导演、剧作家、戏剧教育家、评论家。早年从事剧本和小说创作，1898年与斯坦尼斯拉夫斯基共同创建莫斯科艺术剧院，此后联合执导了契诃夫的《海鸥》《万尼亚舅舅》《三姊妹》《樱桃园》和高尔基的《底层》等名剧。1928年以后成为剧院的主要负责人，先后将托尔斯泰的小说《复活》《安娜•卡列尼娜》搬上舞台，并重排了《三姊妹》。1936年获“苏联人民艺术家”称号。 译者简介： 焦菊隐（1905—1975），生于天津，原名焦承志，戏剧导演、戏剧理论家、翻译家，北京人民艺术剧院的创建人之一。1928年毕业于燕京大学，1938年获巴黎大学文学博士学位。1952年被任命为北京人民艺术剧院第一副院长兼总导演，开创了北京人艺演剧学派。导演代表作有《龙须沟》《虎符》《茶馆》《关汉卿》《蔡文姬》等，译著...(展开全部)