Appendix: Roster of Emergent Theatre Forms

Home , Arja (theatre), Boria (theatre), Lhamo, Maach, Raslila, Sandiwara

550–500 bce—Greek tragedy (Athens) (Hartnoll 607) 500–450 bce—Greek “Old” Comedy (Athens) (Hartnoll 607) 350–300 bce—Greek “New” Comedy (Athens) (Hartnoll 551) 250–200 bce—Comedy and tragedy (Rome) (Banham, Cambridge 936) 250–200 bce—Mime (Rome) (Duckworth 13) 200–100 bce—Sanskrit Theatre (India) (Richmond et al. 1990: 27) 150–100 bce—“Horn butting game” (China) (Dolby, “Early” 11) 50–1 bce—Pantomime (Rome) (Beacham 142) 500–600 ce—Bukagu/gagaku (Japan) (Leiter 1.67) 600–650—Gigaku (Japan) (Leiter 1.227) 700–750—Canjunxi (Adjutant Play) (China) (Dolby, History 7) 700–750—Tayao niang (Stepping and Swinging Women) (China) (Dolby, “Early” 13) 800–900—Robam kbach boran (lakhon kbach boran) (Cambodia) (Ghulam-Sarwar118)

* * *

900–1000—Liturgical theatre (Europe) (Hartnoll 674) 900–1000—Wayang kulit purwa (Indonesia) (Ghulam-Sarwar 276) 900–1000—Gambuh (Indonesia) (Ghulam-Sarwar 79) 900–950—Kuttiyatam (India) (Leiter 1.358) 900–950—Wayang beber (Indonesia) (Ghulam-Sarwar 276)

950–1000—Song (dynasty) zaju (China) (Dolby, History 15) 950–1000—Religious literary drama (Europe) (Banham, Cambridge 501)

* * *

1000–1100—Dengaku (Japan) (Leiter 1.154) 1000–1100—Khayāl all-zill (Egypt) (Moreh 47) 1000–1050—Cheo (Vietnam) (Brandon 73) 1050–1100—Wayang topeng (Indonesia) (Ghulam-Sarwar 311) 1050–1100—Sangaku/Sarugaku (Japan) (Ortolani 62–63)

* * *

1100–1150—Jin (dynasty) yuanben (China) (Dolby “Early” 19) 1100–1150—Oesterspiele (Easter plays) (Germany) (Banham, Cambridge 705) 1100–1150—Mua roi nuoc (Vietnam) (Leiter 2.92) 1100–1150—Sangaku (Japan) (Keene 29) 1150–1200—Nanxi (China) (Dolby, “Yuan” 32)

* * *

1200–1250—Saints Plays (France) (Frank 98) 1200–1250—Auto Sacramental (Spain) (Hartnoll 46) 1250–1300—Yuan (dynasty) zaju (China) (Dolby, History 44) 1250–1300—Farce (France) (Axton and Stevens 195) 1250–1300—Tuong (hat-boi) (Vietnam) (Leiter 2.812)

* * *

1300–1400—Passion plays (France) (Frank 126) 1300–1400—Kyogen̄ (Japan) (Ortolani 151) 1300–1400—Nibhatkhin (Burma) (Brandon and Banham 17) 1300–1350—Chanqui (marvel dramas) (China) (Leiter 1.200) 1300–1350—Cycle plays (Corpus Christi plays) (England) (Hartnoll 581) 1300–1350—Morality plays (England) (Banham, Cambridge 699) 1350–1400—No ̄ (noh) (Japan) (Leiter 1.466)

* * * APPENDIX: ROSTER OF EMERGENT THEATRE FORMS 307

1400–1450—Ache lhamo (Tibet) (Leiter 1.2) 1450–1500—Nang yai (Thailand) (Ghulam-Sarwar 186) 1450–1500—Wayang kulit gedog (Indonesia) (Ghulam-Sarwar 287)

* * *

1500–1600—Bhavai (bhavāi) (India) (Vatsyayan, Appendix II) 1500–1600—Tsam (Mongolia) (Leiter 1.431) 1500–1600—Kuchipudi (India) (Leiter 1.352) 1500–1600—Bangzi quiang musical system, multiple forms (China) (Brandon and Banham 32) 1500–1600—Yiyang qiang musical system, multiple forms (China) (Brandon and Banham 31) 1525–1575—Raslila (rās lılā ̄) (India) (Leiter 2.606) 1500–1550—Ankiya nat (India) (Leiter 1.35) 1500–1550—Commedia erudita (Italy) (Hartnoll 174) 1500–1550—Khon (Thailand) (Brandon and Banham 237) 1500–1550—Karagöz (Ottoman Empire) (And 34) 1500–1550—European theatre introduced into the Americas (Weiss et al. 47) 1500–1550—Commedia dell’arte (Italy) (Banham, Cambridge 237) 1500–1550—Jatra (yatra) (India) (Leiter 1.288) 1500–1550—School drama (inc. Jesuit Drama) (Europe) (Hartnoll 741) 1500–1550—Yakshagana (India) (Brandon and Banham 115) 1500–1550—Matachines dance (Mexico) (Sponsler 17) 1500–1550—Moros y Cristianos (Mexico) (Weiss et al. 52) 1550–1600—Court masque (England) (Banham, Cambridge 689) 1550–1600—Cavittu natakam (India) (Leiter 1.80) 1550–1600—Bhagat (India) (Gargi 46) 1550–1600—Tamasha (India) (Richmond et al. 275) 1550–1600—European spoken theatre (England) (Banham, Cambridge 331) 1550–1600—Kunqu (China) (Dolby, History 92) 1550–1600—Ballet de cour (court ballet) (France) (Homans 7–8) 1550–1600—Bunraku (ningyo ̄jorurī ) (Japan) (Brandon and Banham 171) 1575–1625—Opera (Italy) (Banham, Cambridge 821) 1575–1625—Kathakali (India) (Leiter 1.317)

* * * 308 APPENDIX: ROSTER OF EMERGENT THEATRE FORMS

1600–1700—Lakon nok (Thailand) (Leiter 1.371) 1600–1700—Nang talung (Thailand) puppet (Leiter 2.590) 1600–1700—Maanch (maach) (India) (Leiter 1.389) 1600–1700—Dasavatar (India) (Leiter 1.153) 1600–1650—Kabuki (Japan) (Leiter 1.297) 1600–1650—Komedya (comedia, kumedya, moro-moro) (Philippines) (Ghulam-Sarwar 50) 1600–1650—Ramlila (rām lılā ̄) (India) (Richmond et al. 217) 1650–1700—Krishnattam (India) (Leiter 1.348) 1650–1700—Zarzuella (Spain) (Hartnoll 912) 1650–1700—Alarinjo (Apidan) (Nigeria) (Banham, History 140) 1650–1700—Kuravanci (India) (Leiter 1.357)

* * *

1700–1800—Wayang wong (Indonesia) (Leiter 2.824–25) 1700–1800—Lakon chatri (Thailand) (Leiter 1.369) 1700–1800—Yaryu (Korea) (Leiter 2.864) 1700–1800—Cantonese yueju (China) (Leiter 2.870) 1725–1775—Swang (svang, svanga) (India) (Leiter 2.704) 1700–1750—Pasku (Sri Lanka) (Leiter 2.499) 1700–1750—Panto (English pantomime) (England) (Banham, Cambridge 837) 1700–1750—Ballad opera (England) (Hartnoll 52) 1700–1750—Zat pwe (Burma) (Leiter 2.878) 1700–1750—Wayang krucil (Indonesia) Puppet (Ghulam-Sarwar 280) 1700–1750—Khyal (khyāla) (India) (Leiter 1.328) 1750–1800—Ta’ziyeh (Iran) (Floor 125) 1750–1800—European spoken theatre introduced into South Asia (Leiter 1.257) 1750–1800—Yokthe pwe (Burma) (Ghulam-Sarwar 317) 1750–1800—Nadagam (Sri Lanka) (Leiter 1.451) 1750–1800—Jingju (jingxi, Peking/Bejing opera) (China) (Leiter 1.292) 1750–1850—Bhagavata mela (bhāgavatamelā) (India) (Leiter 1.54)

* * * APPENDIX: ROSTER OF EMERGENT THEATRE FORMS 309

1800–1900—Lakon phan thang (Thailand) (Leiter 1.372) 1800–1900—Drama (Philippines) (Leiter 1.176) 1825–1875—Nautanki (India) (Leiter 1.460) 1800–1850—Melodrama (France) (Banham, Cambridge 719) 1800–1850—Arja (Indonesia) (Leiter 1.37) 1800–1850—Sangeet natak (India) (Leiter 2.638) 1800–1850—Legong (Indonesia) (Brandon and Banham 138) 1850–1900—Parsi theatre (India) (Leiter 2.497) 1850–1900—Operetta (France) (Banham, Cambridge 814) 1850–1900—Género chico (Spain) (Weiss et al. 111) 1850–1900—Abdul muluk (dolmuluk, dermuluk) (Indonesia) (Leiter 1.1) 1850–1900—Bangsawan (Malay opera) (Malaysia) (Leiter 1.46) 1850–1900—Liké (likay) (Thailand) (Ghulam-Sarwar 140) 1850–1900—Nurti (Sri Lanka) (Leiter 1.473) 1850–1900—Shinpa (shimpa) (Japan) (Ortolani 234) 1850/1900—Komedi stambul (Indonesia) (Leiter 1.338) 1850–1900—Musical comedy (England) (Hartnoll 570) 1850–1900—Avant-garde theatre (Europe) (Banham, Cambridge 571) 1850–1900—Lakon rong (Thailand) (Leiter 1.374) 1850–1900—Speshal natakam (India) (Leiter 2.678) 1850–1900—Lakon dukdamban (Thailand) (Leiter 1.369) 1850–1900—Sandiwara (komedie, tonil) (Indonesia) (Brandon 50–51) 1880–1920—Sannata (dappinata) (India) (Leiter 2.639)

* * *

1900–1950—Sarsuwela (Zarzuela) (Philippines) (Leiter 2.643–44) 1900–1950—Broadway musical (USA) (Banham, Cambridge 772) 1900–1950—Shingeki (Japan) (Leiter 2.663) 1900–1950—Shaoxing yueju (China) (Leiter 2.871) 1900–1950—Huaju (“spoken drama”) (China) (Leiter 1.111) 1900–1950—Ch’anggŭk (Korea) (Leiter 1.95–96) 1900–1950—Jangger (Janger) (Indonesia) (Leiter 1.277) 1900–1950—Shin’pagŭk (Korea) (Leiter 2.669) 1900–1950—Cai luong (Vietnam) (Brandon and Banham 248) 1900–1950—Bidesia (bidesiya) (India) (Leiter 1.61) 1900–1950—Concert party (Ghana) (Barber et al. 8) 1900–1950—Shumang lila (jatra, jatrawali) (India) (Leiter 2.672) 310 APPENDIX: ROSTER OF EMERGENT THEATRE FORMS

1900–1950—Shingŭk (“new theatre”) (Korea) (Brandon and Banham 184) 1900–1950—Kich noi (Vietnam) (Leiter 1.329) 1900–1950—Kethoprak (ketoprak) (Indonesia) (Leiter 1.325) 1900–1950—Nang pramo thai (Thailand) (Leiter 2.591) 1900–1950—Boria (borea) (Malaysia) (Leiter 1.64) 1900–1950—Ludruk (Indonesia) (Brandon and Banham 138) 1900–1950—Bobadil (Philippines) (Leiter 1.63) 1900–1950—Opera batak (Indonesia) (Leiter 2.482) 1900–1950—School theatre (Senegal) (Banham, History 117) 1900–1950—Lakhon bassac (Cambodia) (Leiter 1.366) 1900–1950—Burrakatha (India) (Leiter 1.73) 1900–1950—Yoruba Popular Theatre (Nigeria) (Banham, History 148) 1900–1950—Chitlin Circuit (USA) (Gates 139) 1900–1950—Huaji xi (China) (Leiter 1.245) 1950–2000—Wuju (China) (Leiter 2.849) 1950–2000—Tarling (Indonesia) (Leiter 2.725) 1950–2000—Lakhon niyeay (lakon ciet) (Cambodia) (Leiter 1.368) 1950–2000—Buto ̄ (butoh) (Japan) (Leiter 1.74) 1950–2000—Kwagh-hir (Nigeria) (Kerr 166) 1950–2000—Sendratari (Indonesia) (Leiter 2.659) 1950–2000—Yangban xi (revolutionary “model plays”) (China) (Leiter 2.862) 1950–2000—Township musicals (South Africa) (Banham, History 352) 1950–2000—Drama gong (Indonesia) (Leiter 1.177) 1950–2000—Angura (Japan) (Leiter 1.34) 1950–2000—Kahani ka rangamanch (India) (Leiter 1.302) 1950–2000—Madangnori (Korea) (Leiter 1.391) Works Cited

And, Metin. A History of Theatre and Popular Entertainments in Turkey. Ankara, Dost Yayinlari, 1963–64. Axton, Richard, and John Stevens, translator. Medieval French Plays. Barnes and Noble, 1971. Banham, Martin, editor. A History of Theatre in Africa. Cambridge UP, 2004. Banham, Martin, editor. The Cambridge Guide to Theatre. Rev. ed., Cambridge UP, 2000. Barber, Karin, et al. West African Popular Theatre. Indiana UP, 1997. Beacham, Richard C. Spectacle Entertainments of Early Imperial Rome. Yale UP, 1999. Brandon, James R. Theatre in Southeast Asia. Harvard UP, 1967. Brandon, James R., and Martin Banham, editors. The Cambridge Guide to Asian Theatre. Cambridge UP, 1993. Dolby, William. “Early Chinese Plays and Theatre.” Chinese Theatre: From Its Origins to the Present Day, edited by Colin Mackarras, U of Hawaii P, 1983, pp. 7–31. Dolby, William. A History of Chinese Drama. London: Paul Elek, 1976. Dolby, William. “Yuan Drama.” Chinese Theatre: From Its Origins to the Present Day, edited by Colin Mackerras, U of Hawaii P, 1983, pp. 32–59. Duckworth, George E. The Nature of Roman Comedy: A Study in Popular Entertainment. 2nd ed., U of Oklahoma P, 1994. Floor, Willem. The History of Theatre in Iran. Washington, DC, Mage Publishers, 2005. Frank, Grace. The Medieval French Drama. Oxford UP, 1954. Gargi, Balwant. Folk Theater in India. Calcutta, Rupa and Company, 1991.

Gates, Henry Louis, Jr. “The Chitlin Circuit.” African American Performance and Theatre History: A Critical Reader, edited by Harry J. Elam and David Krasser, Oxford UP, 2001, pp. 132–48. Ghulam-Sarwar Yousef. Dictionary of Traditional South-East Asian Theatre. Kuala Lumpur, Oxford UP, 1994. Hartnoll, Phyllis, editor. The Oxford Companion to the Theatre. 4th ed., Oxford UP, 1983. Homans, Jennifer. Apollo’s Angels: A History of Ballet. Random House, 2010. Keene, Donald. No ̄ and Bunraku: Two Forms of Japanese Theatre. Columbia UP, 1990. Kerr, David. African Popular Theatre: From Pre-Colonial Times to the Present Day. London, James Currey, 1995. Leiter, Samuel L., editor. Encyclopedia of Asian Theatre. Greenwood Press, 2007. 2 volumes. Moreh, Shmuel. “The Shadow Play (‘Khayāl al-Zill’) in the Light of Arabic Literature.” Journal of Arabic Literature, vol. 18, 1987, pp. 46–61. Ortolani, Benito. The Japanese Theatre: From Shamanistic Ritual to Contemporary Pluralism. Rev. ed., Princeton UP, 1995. Richmond, Farley P., et al., editors. Indian Theatre: Traditions of Performance. U of Hawaii P, 1990. Sponsler, Claire. Ritual Imports: Performing Medieval Drama in America. Cornell UP, 2004. Vatsyayan, Kapila. Traditional Indian Theatre: Multiple Streams. New Delhi, National Book Trust, India, 1980. Weiss, Judith H., et al. Latin American Popular Theatre: The First Five Centuries. U of New Mexico P, 1993. Index

A Bangsawan, 237–239, 241, 242 Abu-Lughod, Janet L., 38, 261, 270, Banham, Martin, 151 276, 283 Baugh, Christopher, 253 Adas, Michael, 177 Bauman, Richard, 15 African-American Region, 146–147 Beacham, Richard C., 147 Akbar, Emperor, 284, 286 Beijing opera, see Jingju Alarinjo, 186, 290 Belgium, 135 Ancient Mediterranean Region, 147–149 Bell, David A., 36 And, Metin, 115–116 Bentley, Jerry H., 33, 34, 46, 51, 267 Anhui Sanqing Troupe, 239 metanarrative, 53–55 Ankiya nat, 286 secular trends, 189–190, 194–195 Apidan, see Alarinjo Betlehemes játék, 218 Apter, Emily, 14, 185 Bhakti, 284–286 Aristophanes, 101 Bharata, 18, 94 Aristotle, 94 Bharucha, Rustom, 50, 239, 240 Armitage, David, 176 Bhasa, 283 Arras, France, 192 Bhavai, 285, 286 Asvaghosa, 195 Borges, Jorge Luis, 257 Australasian Region, 145–146 Brandon, James R., 68–69, 215–216, 228 Braudel, Fernand, 132, 249, 278 B agency, 176–177 Ballet, 73, 282 geography, 128 training, 214 structures, 179 Bamana, 18 Bright, Charles, 287

Broadway musical, 87, 111 Conrad, Sebastian, 15, 31, 50, 133, Brockett, Oscar G., 82, 83, 171 150, 202, 259, 260 Brook, Peter, 13, 240 varieties of world history, 11–12 Brown, John Russell, 32 Conteh-Morgan, John, 234, 291 Buddhism, 195–196 Coronil, Fernando, 54 Bunraku, 19, 24, 242 Cosmides, Leda, 20 competition with kabuki, 228–229 Court masque, 282 Burckhardt, Jacob, 207 Cresswell, Tim, 128, 137, 179 Burke, Edmund, III, 3 Crick, Ollie, 279 Burma, 195 Crosby, Alfred W, Jr., 145, 146 Butsch, Richard, 80 concept of Columbian Exchange, 277–278 Curtain, Philip, 271 C Cycle plays, English, 186, 213 Cambodia, 274 Camerata, Florentine, 281 Canada, 215–218 D Carlson, Marvin, 8, 10, 34, 87, 97, 133 Damrosch, David, 14 Carr, David, 250 Darwin, Charles, 112 Central Asian Region, 142, 195 Darwin, John, 276, 284, 289 Césaire, Aimé, 75 Dasgupta, Gautam, 136, 240 Chaudhuri, K. N., 132 De Grazia, Margreta, 183 Cheah, Pheng, 14 Dharwadker, Aparna, 142 Cheney, Sheldon, 72–74, 76, 81, Diamond, Jared, 160 82, 85, 87 Dirlik, Arif, 49 Cheo, 274 Dodgshon, Robert A., 211, 212 Chikamatsu Monzaemon, 49 Dolby, William, 181, 232 China, 1, 9–10, 254–255, 270–272 Dosse, François, 176 Song dynasty economic Dunn, Ross E., 3, 250 expansion, 230–232 Chitlin Circuit, 187–188 origins, 235 E Christian, David, 189, 197 Eagleton, Terry, 221 Chuanju, 151 East Asian Region, 150–151, 195 Cole, Catherine M., 242, 291 Edo, 228 Collingwood, R. G., 21 convergent analogy with Columbian Exchange London, 155–159 (concept), 277–278 Egypt, 273–275 Commedia dell’arte, 117, 149, 279–280 Ehret, Christopher, 161 Commedia erudite, 149, 279 Ekong comic plays, 18 Concert Party, 45, 242, 291 El Teatro Campesino, 136 Conrad, Peter, 13 Elizabeth I, Queen, 282 INDEX 315

Else, Gerald, 110 Grant, Ulysses S., 178, 293 Engels, Friedrich, 220–223 Great Britain, 219 England, 254–255 Green, William A., 41, 262, 267, 269 Erasmus, Desiderius, 278 Grosfogeul, Ramón, 187 Esslin, Martin, 17 Guldi, Jo, 176 Europe Guy, Nancy A., 23 material basis for medieval theatre, 191–193 European region, 143–144, H 149, 278–282 Hahoe pyŏlsin-kut, 186 Hale, John, 278 Hall, Peter, 157 F city as “cultural crucible,” 198–201 Favorini, Attilio, 96 Hamburger, Mark, 135 Finnegan, Ruth, 50 Hamlet, 37, 42 Fischer, David Hackett, 51, 255, Hammerstein, Oscar, II, 108 257, 263 Hansen, Kathyrn, 285 fallacies, 62–63, 207 Harris, Max, 115 Fischer-Lichte, Erika, 5, 40, 240 Hat boi, see Tuong Fletcher, Joeseph, 260–261 Hat cheo, see Cheo Formalism, 110 Hawley, John Stratton, 284 Foucault, Michel, 53 Hegel, G. W. F., 77 Fowler, Alastair, 254 Herder, Johann Gottfried, 134, 135 Frank, Andre Gunder, 77, 262, 277 Hermann, Max, 96, 133 Fraser, Nancy, 54 Herskovits, Melville, 84 Hildy, Franklin J., 82, 83 Hodgson, Marshall G. S., 69, 93–94, G 131, 138, 150, 231, 256, Gambaro, Griselda, 75 268, 284 Gascoigne, Bamber, 258 westward distortion, 64–65 Gas lighting, 193–194 Hopkins, A. G., 268, 296 Gates, Henry Louis, Jr., 187–188 Hrotsvitha, 149, 192 Genghis Khan, 276 Huaju, 45 Geyer, Michael, 287 Huidiao, 239 Ghana, 242, 291 Hulfeld, Stefan, 174, 207 Gilbert, Helen, 13, 236–237, 239 Humanism, 278 Goffman, Erving, 15 Goldfarb, Alvin, 66, 83, 171 Gould, Stephen J., 21, 114 I Graham-White, Anthony, 84 Ibibio, 18 Grand Kabuki Theatre, in Ibn Dāniyāl, Muhammad, 273–275 Berkeley, 109–110 Ibsen, Henryk, 294 316 INDEX

Ichikawa Danjūrō IX, 293 Kathakali, 45, 73, 99 Idema, Wilt T., 272 training, 214 Imperative of continuity, 230 Katz, Ruth, 281 Imperative of formal change, 210, 227 Keene, Donald, 177 Imperative of formal Kerr, David, 289 continuity, 210–212 khayāl al-zill, 273–275 India, 219 Kipling, Rudyard, 66 Indigenous South American Kleisthenes, 101–102 Region, 142 Knight, Alan E., 279 Insular Southeast Asian Region, 145, 273 Komedya, 115 Irokawa Daikichi, 293 Komparu Zenchiku, 195 Italianate staging, 182–184, 217 Kotè-tlon, 18, 290 Italy, 278 Kunqu, 46, 239 Iwakura Tomomi, 177 role categories, 182 Izenour, George C., 183 Kutiyattam, 143, 283, 285

J L Jackson, Shannon, 80, 83 Lagos, Nigeria, 198–200, 291 Japanese region, 195, 293–295 Lal, Vinnay, 50 Java, 273 Latrell, Craig, 237 Ji Junxiang, 71 Lefebvre, Henri, 155 Jingju, 23–24, 45, 46, 95, 106–107, Leiter, Samuel, 23 242, 259 Levi, Scott C., 276 origins, 239–240 Levine, Lawrence W., 79 role categories, 182 Lewis, Bernard, 70 Johnson, Samuel, 95 Lewis, Martin W., 70, 71, 130–132, Johnston, Alexandra F., 279 144, 147 Journey to the West, 195 metageography, 137–141 Li Ruru, 259 Lo, Jacqueline, 13, 236–237, 239 K London Kabuki, 45, 46, 109–110, 118, 157, convergent analogy with 242, 260, 293 Edo, 155–159 competition with bunraku, 229 Lougee, Carolyn, 79 convergent analogy with European Ludruk, 45 spoken theatre, 117–118 Lyotard, Jean-François, 53 gas lighting, 194 origins, 188 Kalidasa, 49, 71, 259 M Karaghiózis, 112–113, 233 MacCanell, Dean, 229 Karagöz, 96, 112, 115–116, 118–119 Macgowan, Kenneth, 7 INDEX 317

Mackerras, Colin, 254, 272 Natyashastra, The, 71, 94 Maddison, Angus, 277 Nautanki, 143 Magnin, Charles, 83 Neal, Zachary P., 226–230 Mahabharata (Epic), 142 Nellhaus, Tobin, 172–173, 190 Mahabharata (stage play), 13, 240 homological theory, 222–223 Mahjub, Mohammad Jaʻfar, 116 theatre and mediated drama, 232 Mainland Southeast Asian Region, Neo-Europes (concept), 145–146 145, 273–274 Neusner, Jacob, 44, 45 Malaysia, 237 New York City, 159, 224–225 Mani-rimdu, 195 Ngugi wa Thiongo, 234 Manning, Patrick, 33, 38, 174 Nibhatkhin, 195 Martin, Jacqueline, 97–103 Nicholson, Linda, 54 Marx, Karl, 77–78, 220–221, 223 Nicoll, Allardyce, 65–66, 95 Matthews, Brander, 71–72, 76, 83 Ningyō jōruri, see Bunraku Mazlish, Bruce, 14, 15, 52 Nisbet, Robert, 207 McConachie, Bruce A., 42, 101 Nō, 45, 95, 99, 156, 173, 293 McKeown, Adam, 250 19th century revival, 177–178 McNeill, William H., 11, 21, 36–38, North American Region, 145–146 43, 80, 133, 194, 267 North Asian Region, 146 moldboard plow, 191–192 Northrup, David, 267, 268, 270 Medici, Catherine D., 282 Noverre, Jean Georges, 73 Melanesian Region, 142 Melnitz, William, 7 Metropolitan Opera, New York, 215 O Mickiewicz, Adam, 134 Odom, Glenn, 75 Miles, Sarah, 147 Ogunde, Hubert, 196, 198, Mill, John Stuart, 78 200–201 Monteverdi, Claudio, 86, 281 Okagbue, Osita, 18, 50, 151, Moretti, Franco, 128 152, 290 Moros y cristianos, Mexican, 114–115 Oklahoma!, 111 Moros y cristianos, Spanish, 114–115 Okumpa, 290 Morris, Ian, 277 Old Comedy, Greek, 101–102 Mummers’ play, English, 39, 213 Opera, European, 45, 73, 87, Myrsiades, Linda, 112–113 136–137, 213, 281–282 repertoire, 215 Orta-oyunu, 115–116 N Ortolani, Benito, 260, 294 Nagler, A. M., 96 Osipovitch, David, 95 Nanxi, 151 Osnos, Beth, 274 origins, 271–272 Osterhammel, Jürgen, 15, 43, 155, role categories, 182 159, 197, 255, 268, 287, 288 National Theatre, Great Britain, 219 Owomoyela, Oyekan, 155 318 INDEX

P Ricci, Matteo, 1, 2, 22–23 Panchal, Govardhan, 283, 286 Richards, Kenneth, 280 Passion plays, 116, 178, 186 Richards, Laura, 280 Pavis, Patrice, 240 Richmond, Farley P., 283, 285 Peking Opera, see Jingju Ritual origins, 83–85 Perry, Matthew, 292 Roach, Joseph, 132 Peters, Frank, 135 Robinson, Jo, 34, 35, 50, 52 Petroski, Henry, 190 Rodgers, Richard, 108 Philippines Region, 145 Role categories, 181–182, 216 Pinker, Steven, 103–104 Royal Opera House, Great Plato, 101 Britain, 219 Plautus, 147 Royal Shakespeare Company, Great Pomeranz, Kenneth, 268 Britain, 219 Pomper, Philip, 42 Rozik, Eli, 17 Popielarz, Pamala A, 226–230 Postlewait, Thomas, 20, 38, 40, 41, 110, 171, 174, 177, 220, 224, S 258, 262 Said, Edward W., 70, 77 periodicity, 249–257 Sandiwara, 238 Pronko, Leonard, 68 Sanskrit theatre, 71, 136, 142, 195, Punch-and-Judy puppet show, 214 259, 285 Purim plays, 186 Sauter, Willmar, 15, 97–103 Pušić, Barbara, 135 Schechner, Richard, 17 Schipper, Mineke, 291 Shakespeare, William, 86, 215, 294 Q Shin kabuki, 293 Quem Quaeritis trope, 192 Shingeki, 294 Quinn, Michael L., 96 Shinpa, 294 Sichuan opera, see Chuanju Slawinski, Maurice, 183 R Song zaju, 232 Raghavan, V., 259 South Africa, 140, 234 Ramayana, 142 South and Central American Ramlila, 186, 228, 285 Region, 145–146 Rand, John Stockton, 280 South Asian Region, Ranke, Leopold von, 132 142–143, 283–287 Rapoport, Natasha, 146 Southwest Asian-North African Raslila, 285 Region, 144 Records of Early English Drama, 39 Spanish Armada, 172 Reflectionism, 221–223 Spivak, Gayatri Chakravorty, 50 Reid, Anthony, 273, 274 Spoken theatre (in Africa), 291 Rhulen, Merritt, 111 Spoken theatre (in India), 143 INDEX 319

Spoken theatre, European, 46, 47, 74, Tran Van Khe, 274 180, 280–281 Tsetseka (Winter Ceremonial), 155 convergent analogy with Tuang, 274 kabuki, 117–118 Stanford, Michael, 2 Stathaki, Aktina, 234 U Stearns, Peter, 267 Ubu Roi, 40–41 Storytelling, 19–20 United States, 48 Sub-Saharan African region, 144–145, 151–154, 290–292 appeal of Greek tragedy, 234–235 V Sudraka, 259 Vansina, Jan, 40 Swinton, William, 78–79 Vatsyayan, Kapila, 143, 286 Symes, Carol, 192 Vernant, Jean-Pierre, 16 Vidal-Naquet, Pierre, 16 Vietnam, 274 T Tagore, Rabindranath, 134 Tamasha, 219, 286 W Tan Sooi Beng, 237 Wall Street Journal/Times Higher Tang Xianzu, 18 Education College Rankings, 5 Taplin, Oliver, 147 Wang Guowei, 71 Tate, Nahum, 215 Wang Jide, 18 Taylor, Dianne, 236 War Memorial Opera House, San Taylor, Gary, 199 Francisco, 213 Taʻziyeh, 116, 118, 186, 218 Wayang kulit menak, 187 Tennyson, Alfred Lord, 78 Wayang kulit purwa, 117, 186, 273 Terence, 147 “standard scenes,” 215–216 Thailand, 274 Western Civ classes, 79–81 Theatre anthologies, analysis of, 8–9 Westlake, E. J., 75 Theatre history survey classes, Wetmore, Kevin J., Jr., 234 analysis of, 5–6 Whig interpretation, 78–80 Theatre history textbooks, White, Hayden, 21, 221 analysis of, 6–8 Wickham, Glynne, 45, 81, 82, Theatre of roots (India), 143 85, 87, 220 Theatrical Syndicate, 159 Wigen, Kären E., 70, 71, 130–132, Thol pavaikkuthu, 213 144, 147 Tiatco, Sir Anril P., 115 metageography, 137–141 Tillis, Steve, 5 Wiles, David, 53, 250 Togo, 291 Williams, Simon, 135 Tooby, John, 20 Wilmer, S. E., 134 Tragedy, Greek, 147, 222 Wilson, Edward O., 104 beyond Greece, 221 Wilson, Edwin, 66, 83, 171 320 INDEX

Wong, R. Bin, 268 Yuan zaju, 71, 151 World history vs. global history, 14–15 origins, 271–272 roles categories, 182 Yuanben, 232 Y Yellowman (Navajo storyteller), 19 Yoruba popular theatre, 196–197, Z 241, 242, 291 Zarrilli, Phillip B., 214 origins, 198–201 Zeami, 18, 94