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Tout le monde sait ce qu’est le théâtre, du moins tout le monde en a une idée. Mais sous cette évidence se lovent des réalités complexes. Le théâtre est un ensemble d’oeuvres, un répertoire, c’est aussi une pratique du spectacle, dont les oeuvres écrites ne sont qu’une part ; ce sont également des lieux, plus ou moins spécialisés, et des personnes, elles-mêmes plus ou moins spécialistes ; parfois, enfin, c’est un rituel, qui peut s’inscrire dans des pratiques religieuses et politiques … Cet ouvrage retrace l’histoire du théâtre et de sa place dans notre société depuis ses origines gréco-romaines, jusqu’à ses formes les plus contemporaines.

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Le collectif SCRIPT, groupe de recherche de l'Université d'Evry, propose une réflexion sur le théâtre ultra-contemporain d'Orient. Il présente les différentes directions explorées par les dramaturges et metteurs en scène au Moyen-Orient, au Proche-Orient, au Maghreb et en Asie.

Theater.

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Asian theatre is usually studied from the perspective of the major traditions of China, Japan, India, and Indonesia. Now, in this wide-ranging look at the contemporary theatre scene in Southeast Asia, Catherine Diamond shows that performance in some of the lesser known theatre traditions offers a vivid and fascinating picture of the rapidly changing societies in the region. Diamond examines how traditional, modern, and contemporary dramatic works, with their interconnected styles, stories, and ideas, are being presented for local audiences. She not only places performances in their historical and cultural contexts but also connects them to the social, political, linguistic, and religious movements of the last two decades. Each chapter addresses theatre in a different country and highlights performances exhibiting the unique conditions and concerns of a particular place and time. Most performances revolve in some manner around "contemporary modernity," questioning what it means-for good or ill-to be a part of the globalized world. Chapters are grouped by three general and overlapping themes. The first, which includes Thailand, Vietnam, and Bali, is characterized by the increased participation of women in the performing arts-not only as performers but also as playwrights and directors. Cambodia, Singapore, and Myanmar are linked by a shared concern with the effects of censorship on theatre production. A third group, the Philippines, Laos, and Malaysia, is distinguished by a focus on nationalism: theatres are either contributing to official versions of historical and political events or creating alternative narratives that challenge those interpretations. Communities of Imagination shows the many influences of the past and how the past continues to affect cultural perceptions. It addresses major trends, suggesting why they have developed and why they are popular with the public. It also underscores how theatre continues to attract new practitioners and reflect the changing aspirations and anxieties of societies in immediate and provocative ways even as it is being marginalized by television, film, and the internet. The book will be of interest to students and scholars of theatre and performance, Asian literature, Southeast Asian studies, cultural studies, and gender studies. Travelers wishing to attend local performances as part of their experience abroad will find it an essential reference to theatres of the region.

Theater

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Theater --- Theater

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This volume argues that theatre studies' preoccupation with problems arising from textual analysis has compromised a fuller, political consideration of the visual. It examines the spectator's role in the theatre, exploring pleasure, difficulty and spectacle, to consider the implications for visual experience in the theatre.

Theater --- Theater audiences. --- Philosophy.