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Bibliographical Resources BIBLIOGRAPHICAL RESOURCES (1909–1952). Dramatic Index for 1909–1949. Boston, MA: Boston Book Co. (1940–1994). New York theatre critics’ reviews. New York, NY: Critics’ Theatre Reviews, Inc. (1966–1971/1973–1976/1984–1991). A guide to critical reviews (3 eds.). New York, NY: Scarecrow Press. (1968–2003). World Shakespeare bibliography. Baltimore, MD: Johns Hopkins University Press. (1982–1999). International bibliography of theatre. New York, NY: Publishing Center for Cultural Resources, CUNY. (1983). 20th century theatre (Vols. 2). New York, NY: Facts on File. (1984). Encyclopedia of world drama: An international reference work in five volumes (2nd ed., Vols. 5). New York, NY: McGraw-Hill. (1985). An international dictionary of theatre language. Westport, CT: Greenwood. (1992–1996). International dictionary of theatre (Vols. 3). Chicago, IL: St. James Press. (1994–2000). World encyclopedia of contemporary theatre (Vols. 6). New York, NY: Routledge. (1999). Contemporary dramatists (6th ed.). London, UK: St. James Press. (2004). Cambridge history of British theatre (Vols. 3). New York, NY: Cambridge University Press. (2006). Cambridge history of American theatre (Vols. 3). New York, NY: Cambridge University Press. (2007). Columbia encyclopedia of modern drama (Vols. 2). New York, NY: Columbia University Press. Altenbernd, L., & Lewis, L. L. (1966). A handbook for the study of drama. New York, NY: Macmillan. Ball, D. (1983). Backwards & forwards: A technical manual for reading plays. Carbondale, IL: Southern Illinois University Press. Banham, M. (Ed.). (1995). Cambridge guide to theatre (2nd ed.). Cambridge, UK: Cambridge University Press. Barry, J. (1970). Dramatic structure: The shaping of experience. Berkeley, CA: University of California Press. Bordman, G., & Hischak, T. S. (2004). Oxford companion to American theatre (3rd ed.). New York, NY: Oxford University Press. Burgoyne, S., & Downey, P. (2012). Thinking through script analysis. Boston, MA: Focus Publishing/ R. Pullins Co. Carpenter, C. A (1986). Modern drama scholarship and criticism, 1966-1980: An international bibliography. Toronto, ON: University of Toronto Press. Carpenter, C. A. (1997). Modern drama scholarship and criticism, 1981-1990: An international bibliography. Toronto, ON: University of Toronto Press. Demastes, W. W. (1996). British playwrights, 1956–1995: A research and production sourcebook. Westport, CT: Greenwood Press. Demastes, W. W., & Kelly, K. (1996). British playwrights, 1880–1956: A research and production sourcebook. Westport, CT: Greenwood Press. Eddleman, F., & Lanelle, D. (1979–1992). American drama criticism: interpretations, 1890–1977 (plus Supplements to 1992). Hamden, CT: Shoe String Press. Esslin, M. (1976). An anatomy of drama. New York, NY: Hill and Wang. Fliotsos, A. L. (2011). Interpreting the play script: Contemplation and analysis. New York, NY: Palgrave Macmillan. Gordon, S. (1976). How to locate reviews of plays and films: A bibliography of criticism from the beginnings to the present. Metuchen, NJ: Scarecrow Press. Griffiths, R. (2001). Reading drama. London, UK: Hodder and Stoughton. Gross, R. (1974). Understanding playscripts: Theory and method. Bowling Green, OH: Bowling Green University Press. Grote, D. (1985). Script analysis: Reading and understanding the playscript for production. Belmont, CA: Wadsworth. Harrison, M. (1993). Theatre: A book of words. Manchester, UK: Carcanet. 173 BIBLIOGRAPHICAL RESOURCES Hartnoll, P. (Ed.). (l983). Oxford companion to the theatre (4th ed.) New York, NY: Oxford University Press. Hartnoll, P., & Found, P. (1993). Concise Oxford companion to the theatre (2nd ed.). New York, NY: Oxford University Press. Hayman, R. (1977). How to read a play. New York, NY: Grove Press. Ingham, R. (1998). From page to stage: How theatre designers make connections between scripts and images. Portsmouth, NH: Heinemann. Kennedy, D. (Ed.). (2003). Oxford encyclopedia of theatre and performance (Vols. 2). New York, NY: Oxford University Press. Kiely, D. (in press). Script analysis for directors: How to read a play. New York, NY: Focal Press. Kolin, P. C. (1989). American playwrights since 1945: A guide to scholarship, criticism, and performance. Westport, CT: Greenwood Press. Leonard, J., & Luckhurst, M. (2002). The drama handbook: A guide to reading plays. New York, NY: Oxford University Press. Levitt, P. M. (1971). A structural approach to the analysis of drama. The Hague, The Netherlands: Mouton. Longman, S. V. (2004). Page and stage: An approach to script analysis. Boston, MA: Allyn and Bacon. Meisel, M. (2007). How plays work: Reading and performance. New York, NY: Oxford University Press. Meyer-Dinkgräfe, D. (Ed.). (2000). Who’s who in contemporary world theatre. New York, NY: Routledge. Millett, F. B. (1970/1950). Reading drama: A method of analysis with selections for study. Freeport, NY: Books-for-Libraries Press. Mobley, J. P. (1992). NTC’s dictionary of theatre and drama terms. Lincolnwood, IL: National Textbook Co. Muneroni, S. (2004). Play analysis: The dramaturgical turn. Dubuque, IA: Kendall Hunt. Murray, E. (1990). Varieties of dramatic structure: A study of theory and practice. Lanham, MD: University Press of America. Palmer, H. H. (1977). European drama criticism, 1900–1975 (2nd ed.). Hamden, CT: Shoe String Press. Patterson, M. (2005). Oxford dictionary of plays. New York, NY: Oxford University Press. Pavis, P., & Shantz, C. (1998). Dictionary of the theatre: Terms, concepts, and analysis (C. Shantz, Trans.). Toronto, ON: University of Toronto Press. Pfister, M. (1988). The theory and analysis of drama. New York, NY: Cambridge University Press. Play Index. Bronx, NY: H. W. Wilson Co. Pritner, C., & Walters, S. (2004). Introduction to play analysis. New York, NY: McGraw-Hill. Reaske, C. R. (1984/1966). How to analyze drama. New York, NY: Monarch. Rodriguez, D. (2008). Conceptual thinking: A new method of play analysis. New York, NY: World Audience. Rush, D. (2005). A student guide to play analysis. Carbondale, IL: Southern Illinois University Press. Sanger, K. (2000). The language of drama. London, UK: Routledge. Scolnicov, H., & Holland, P. (1991). Reading plays: Interpretation and reception. New York, NY: Cambridge University Press. Styan, J. L. (1975). The dramatic experience: A guide to the reading of plays. New York, NY: Cambridge University Press. Thomas, J. (2009). Script analysis for actors, directors, and designers (4th ed.). New York, NY: Focal Press. Vena, G. (1988). How to read and write about drama. New York, NY: Arco. Waxberg, C. S. (1998). The actor’s script: Script analysis for performers. Portsmouth, NH: Heinemann. Wilmeth, D. B. (Ed.). (2007). Cambridge guide to American theatre (2nd ed.). New York, NY: Cambridge University Press. 174 GLOSSARY OF DRAMATIC TERMS Act: traditional segmentation of a play that indicates a change in time, action, or location, and helps to organize a play’s dramatic structure. Plays may be composed of acts that, in turn, are composed of scenes. Action: the physical activity or accomplishment of a character’s intentions. Aristotle describes tragedy as “an imitation of an action,” meaning that a character’s choices are not simply narrated but acted out onstage. Moreover, a play as an “imitation of an action” means that the several events of the play together constitute one large human action; in this sense, action refers to the entire core of meaning of the events depicted onstage. Agon: literally, a contest; an ancient Greek term used to denote the fundamental conflict in any drama. Allegory: an extended metaphor in which characters, objects, and actions represent abstract concepts or principles in a drama that conveys a moral lesson. Allegorical plays were especially popular in medieval England. Anagnorisis: the moment of recognition—of understanding, awareness, comprehension, or enlightenment—that is achieved when the main character discovers his true relationship to the incidents in the plot and to the other characters within it, that is, to what has occurred and why. This term was first described by Aristotle in his Poetics (330 B.C.) Antagonist: the person or force that opposes the protagonist or main character in a play. The term derives from the Greek word meaning “opponent” or “rival.” Antihero: a protagonist or central character who lacks the qualities typically associated with heroism—for example, bravery, morality, or good looks—but still manages to earn sympathy from the spectator. Aside: a theatrical convention (commonly used in drama prior to the nineteenth century but less often afterwards) in which a character, unnoticed and unheard by the other characters onstage, speaks frankly to the audience. Blank verse: the verse form most like everyday speech; in English, unrhymed iambic pentameter. This is the form in which the great majority of English verse plays, including Shakespeare’s, are written. Burlesque: a satirical play with a strong element of parody (especially of a work by the author’s rival). Sheridan’s The Critic (1779) and Gay’s The Beggar’s Opera (1728) are examples of this type. In late-nineteenth-century America, burlesques incorporating music and elements of fantasy became a popular medium for vaudeville or variety shows featuring bawdy sexual humor. 175 GLOSSARY OF DRAMATIC TERMS Catalyst: a character whose function in a play is to introduce a change or disruption into a stable situation and, thus, to initiate the action of the play; the catalyst is often involved in the drama’s inciting incident. Catastasis: Greek
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