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The concept of the public sphere, as first outlined by German philosopher Jürgen Habermas, refers to the right of all citizens to engage in debate on public issues on equal terms. In this book, Christopher Balme explores theatre's role in this crucial political and social function. He traces its origins and argues that the theatrical public sphere invariably focuses attention on theatre as an institution between the shifting borders of the private and public, reasoned debate and agonistic intervention. Chapters explore this concept in a variety of contexts, including the debates that led to the closure of English theatres in 1642; theatre's use of media; controversies surrounding race, religion and blasphemy; and theatre's place in a new age of globalized aesthetics. Balme concludes by addressing the relationship of theatre today with the public sphere and whether theatre's transformation into an art form has made it increasingly irrelevant for contemporary society.

Theatrical science --- Sociology of culture --- Theater and society. --- Theater audiences --- Théâtre et société --- Théâtre --- Publics --- Theater. --- Öffentlichkeit. --- Communication --- Aspect social --- Théâtre et société --- Théâtre --- Aspect social. --- Theater and society --- Actors --- Society and theater --- Theater --- Social status --- Social aspects

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Providing thorough coverage of the methods and tools required in studying historical and contemporary theatre, this introduction examines the complexities of a rapidly changing and dynamic discipline. Following a cross-cultural perspective, the book surveys the ways theatre and performance are studied by looking initially at key elements such as performers, spectators and space. The central focus is on methodology, which is divided into sections covering theatre theory, historiography and textual and performance analysis. The book covers all the main theatrical genres – drama, opera and dance – providing students with a comparative, integrated perspective. Designed to guide students through the academic dimension of the discipline, the volume emphasizes questions of methodology, research techniques and approaches, and will therefore be relevant for a wide variety of theatre studies courses. Informative textboxes provide background on key topics, and suggestions for further reading are included at the end of each chapter. • Covers all main theatrical genres: drama, opera and dance, providing a comparative and integrated perspective • Takes account of different theatrical practices in a variety of international, cultural and historical contexts • Emphasizes questions of methodology, research techniques and approaches, therefore relating to a wide variety of different theatre studies courses.

Theatrical science --- Theater. --- Théâtre --- Theater --- Théâtre --- Dramatics --- Histrionics --- Professional theater --- Stage --- Theatre --- Performing arts --- Acting --- Actors --- Histoire et critique

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When the Anglo-American theatre manager and actor, Maurice E. Bandmann, died of enteric fever at the Colonial Hospital in Gibraltar on 9 March 1922 shortly before his fiftieth birthday, the event was reported across the English-speaking world from Madras to Singapore, and from Cairo to Hong Kong, with many newspapers carrying lengthy obituaries: The Times of India called him 'the pioneer of musical comedy in this part of the world' having 'brought to the East some forty or fifty companies. The Straits Times in Singapore claimed that 'he inaugurated the system that will remain as a monument to his memory in theatrical circles. The Era, London's theatrical trade paper, emphasized 'the fine plays and well-equipped companies he presented (which) became famous in all parts of the world, many stars appearing under his management, and the Bandman Opera Company, with all the latest musical comedy successes, was exceedingly popular everywhere in the East. As these statements indicate, Maurice Bandmann was at the time considered a key figure in what will be called in this book, the globalization of theatre. For over two decades, Bandmann was a household name in the theatre world of the time, a guarantor of quality itinerant theatrical entertainment, especially of musical comedy performed by the legendary Bandmann Opera Company. The Bandmann Circuit, as it was known, extended from Gibraltar to Tokyo and included more than two dozen towns and cities, across the Asian continent as well as occasional forays across to the West Indies and even South America. In terms of sheer reach and territory covered, Bandmann was a global theatrical entrepreneur, who, while certainly concentrating on English-speaking settlements also performed regularly in Japan to Japanese audiences, before Chinese in Shanghai and Peking and numerous cities where audiences were linguistically mixed

Theatrical managers --- Actors --- Traveling theater --- Theater and globalization. --- Actor-network theory. --- ANT (Sociological theory) --- Sociology --- Globalization and theater --- Globalization --- Stage actors --- Theater actors --- Theatrical actors --- Artists --- Entertainers --- Theater --- Traveling theatrical companies --- Theatrical companies --- Managers, Theatrical --- Theater managers --- Theater management --- History. --- Social networks. --- Methodology --- Bandmann, Maurice E. --- Theatrical managers - United States - Biography --- Actors - United States - Biography --- Traveling theater - History --- Theater and globalization --- Actors - Social networks

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Drama --- Theater --- Theaterwetenschap. --- Theaterwissenschaft. --- Théâtre (Genre littéraire) --- Théâtre --- History and criticism. --- History. --- Histoire et critique. --- Histoire. --- Théorie --- Analyse théâtrale --- Histoire