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Appendix: Roster of Emergent Theatre Forms

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Appendix: Roster of Emergent Theatre Forms APPENDIX: ROSTEr OF EMErGENT THEaTrE FOrMS 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) © The Author(s) 2020 305 S. Tillis, The Challenge of World Theatre History, https://doi.org/10.1007/978-3-030-48343-2 306 APPENDIX: ROSTER OF EMERGENT THEATRE FORMS 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.
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