| Foreword |
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xiii | |
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| About Richard Gilman |
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xvii | |
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Part I. Essays and Articles |
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The Drama Is Coming Now (1963) |
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3 | (13) |
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British Theater: Kinky, Arrogant, and Frankly Magnificent (1966) |
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16 | (8) |
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Growing Out of the Sixties (1971) |
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24 | (11) |
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Broadway Critics Meet Uncle Vanya (1974) |
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35 | (9) |
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The New German Playwrights: Franz Xaver Kroetz (1976) |
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44 | (12) |
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How the New Theatrical Directors Are Upstaging the Playwright (1977) |
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56 | (11) |
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Out Goes Absurdism---In Comes the New Naturalism (1978) |
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67 | (7) |
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The New American Playwrights: Sam Shepard (1981) |
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74 | (19) |
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Part II. Production Criticism |
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Wilder's Plays for Bleecker Street (1962) |
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93 | (2) |
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Kingsley's Night Life (1962) |
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95 | (3) |
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O'Neill's Desire Under the Elms and Sherwood's Abe Lincoln in Illinois (1963) |
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98 | (1) |
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Inge's Natural Affection (1963) |
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99 | (3) |
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Baldwin's Blues for Mr. Charlie (1964) |
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102 | (2) |
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Hansberry's The Sign in Sidney Brustein's Window (1964) |
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104 | (1) |
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Lowell's The Old Glory (1964) |
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105 | (2) |
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Miller's Incident at Vichy (1964) |
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107 | (2) |
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109 | (2) |
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Miller's A View from the Bridge (1965) |
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111 | (1) |
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Baldwin's The Amen Corner (1965) |
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112 | (1) |
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Inge's Where's Daddy? (1966) |
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113 | (1) |
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Albee's A Delicate Balance (1966) |
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114 | (2) |
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Terry's Viet Rock and van Itallie's America Hurrah (1966) |
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116 | (2) |
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Lowell's Prometheus Bound (1967) |
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118 | (1) |
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The Living Theatre on Tour (1968) |
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119 | (6) |
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The Performance Group's Commune (1971) |
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125 | (5) |
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Chaikin's Tourists and Refugees No. 2 and Hellman's The Little Foxes (1981) |
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130 | (3) |
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Hwang's The Dance and the Railroad and Family Devotions (1981) |
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133 | (3) |
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Fuller's A Soldier's Play (1982) |
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136 | (1) |
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Guare's Lydie Breeze and Shepard's The Unseen Hand (1982) |
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137 | (3) |
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Miller's A View from the Bridge (1983) |
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140 | (2) |
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Norman's 'night, Mother (1983) |
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142 | (2) |
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Foreman's Egyptology (1983) |
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144 | (3) |
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Durrenmatt's The Physicists (1964) |
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147 | (2) |
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Brecht's Baal and The Exception and the Rule (1965) |
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149 | (1) |
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Grass's The Plebians Rehearse the Uprising and Docudrama (1966) |
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150 | (4) |
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Brecht's The Caucasian Chalk Circle (1966) |
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154 | (1) |
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155 | (2) |
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Buchner's Woyzeck and Leonce and Lena (1981) |
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157 | (2) |
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Brecht's The Threepenny Opera: Preview (1989) |
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159 | (4) |
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Chekhov's The Seagull and Ostrovsky's The Storm (1962) |
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163 | (3) |
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Chekhov's The Three Sisters (1964) |
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166 | (2) |
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168 | (1) |
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Strindberg's The Father (1981) |
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169 | (3) |
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172 | (2) |
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Ibsen's When We Dead Awaken (1982) |
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174 | (2) |
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176 | (3) |
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Arrabal's The Automobile Graveyard (1961) |
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179 | (3) |
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Ghelderode's Hop, Signor! (1962) |
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182 | (2) |
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Anouilh's Traveller Without Luggage (1964) |
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184 | (2) |
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Moliere's Tartuffe (1965) |
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186 | (1) |
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187 | (1) |
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Sartre's The Condemned of Altona (1966) |
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188 | (1) |
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Moliere's The Misanthrope (1983) |
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189 | (3) |
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Zeffirelli's Romeo and Juliet (1962) |
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192 | (3) |
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195 | (2) |
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American Shakespeare Festival's Richard III and Much Ado About Nothing (1964) |
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197 | (1) |
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New York Shakespeare Festival's Othello (1964) |
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198 | (1) |
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Lincoln Center's The Changeling (1964) |
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199 | (2) |
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The Guthrie's Richard III and The Way of the World (1965) |
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201 | (1) |
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Lincoln Center's The Country Wife (1965) |
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202 | (1) |
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Lincoln Center's The Alchemist (1966) |
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203 | (2) |
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APA's The School for Scandal (1966) |
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205 | (1) |
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Breuer's The Tempest (1981) |
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206 | (4) |
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Roundabout Theater's Misalliance (1981) |
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210 | (1) |
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Royal Shakespeare Company's All's Well That Ends Well (1983) |
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211 | (3) |
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Beckett, Pinter, and English |
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214 | (3) |
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Wesker's Chips with Everything (1963) |
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217 | (3) |
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Pinter's The Room and A Slight Ache (1964) |
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220 | (1) |
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Wesker's The Kitchen (1966) |
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221 | (2) |
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Pinter's The Homecoming (1967) |
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223 | (2) |
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225 | (2) |
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Churchill's Cloud Nine (1981) |
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227 | (2) |
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Fugard's ``Master Harold''. . . and the Boys (1982) |
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229 | (2) |
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Pinter's The Hothouse (1982) |
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231 | (2) |
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233 | (2) |
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Churchill's Top Girls (1983) |
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235 | (2) |
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Beckett's Ohio Impromptu, Catastrophe, and What Where (1983) |
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237 | (4) |
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George Steiner's The Death of Tragedy (1961) |
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241 | (3) |
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Lionel Abel's Metatheatre (1963) |
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244 | (6) |
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Eugene Ionesco's Notes and Counter Notes (1964) |
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250 | (2) |
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Eric Bentley's The Life of the Drama and Robert Brustein's The Theatre of Revolt (1964) |
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252 | (4) |
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Herbert Blau's The Impossible Theater (1964) |
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256 | (3) |
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Jerzy Grotowski's Towards a Poor Theatre (1970) |
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259 | (3) |
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Martin Esslin's The Peopled Wound: The Work of Harold Pinter (1970) |
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262 | (3) |
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Bertolt Brecht: Collected Plays, Edited by Ralph Manheim and John Willett (1971) |
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265 | (3) |
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The Letters of Sean O'Casey, Edited by David Krause (1975) |
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268 | (4) |
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Henrik Ibsen: The Complete Major Prose Plays, Translated and Introduced by Rolf Fjelde (1978) |
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272 | (7) |
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Margaret Brenman-Gibson's Clifford Odets: American Playwright, The Years from 1906 to 1940 (1981) |
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279 | (3) |
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Arthur Miller's Timebends: A Life (1988) |
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282 | (9) |
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Part IV. Profiles and Legacies |
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Bertolt Brecht Once Again (1978) |
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291 | (3) |
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Appraising Stanislavsky's Legacy Today (1982) |
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294 | (4) |
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Jest, Satire, Irony, and Deeper Meaning: Thirty Years of Off-Broadway (1985) |
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298 | (7) |
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Jean Genet, 1910--1986 (1986) |
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305 | (2) |
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Eric Bentley . . . and Me (1986) |
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307 | (5) |
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``A Man Misunderstood in the Midst of Fame'': Henrik Ibsen (1986) |
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312 | (6) |
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The Second Coming of Tennessee Williams, 1911--1983 (1990) |
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318 | (10) |
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Joseph Chaikin: Seeking the Words to Recapture a Past and Shape a Future (1991) |
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328 | (7) |
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335 | |
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