Theatre Studies (review)

In the introduction to Kenneth Pickering and Mark Woolgar's Theatre Studies, the authors state that their book is designed as a companion for students pursuing undergraduate studies, and not as a "substitute for private study" (1). Toward the end of chapter 1, the authors lay the foundation of this idea and their philosophy on how this book is intended to be used, stating that "most recent university and college courses in Theatre Studies include as one of their stated aims the development of the 'reflective practitioner'. The idea that students engaged in practical exploration of theatre and of the relevant skills involved should cultivate the habit of reflecting critically upon their practice is central to the convictions that underpin this book" (17). This "reflective practitioner" they hope to create through Theatre Studies is given many tools with which to practice and accomplish this goal.

Presented in ten chapters, with a glossary, bibliography, and index, Theatre Studies looks much like many other theatre books on the market. The chapters follow a logical progression, starting with the basic "Initial Exploration" (3) and then continuing to explore such topics as theatre spaces, acting, acting methods, playwriting, research, theatre audiences, and critical analyses of theatre. All the requisite information, from basic terms to classical theatrical allusions, seems to be included. It is only after further investigation into each chapter that the differences start to emerge and the uniqueness of Theatre Studies unfolds.

Each chapter starts with stated "Learning Outcomes" to give students a guidepost for what is to be covered in each chapter. Chapter 6, "Theatre in Context and Understanding the Zeitgeist," offers the learning-outcome challenge to "use the concept of Zeitgeist in a meaningful way" (101), and then proceeds to explain in very simple, accessible ways what the term "Zeitgeist" means, who created it, and how it relates to the world of theatre. Students utilizing this system of outcomes will have a more direct approach to the subject contained within the chapters and hopefully have an easier time understanding often-complex ideas.

Included in most of the chapters is also a list of suggested activities. These activities, such as "Research the existence of a 'Theatre Royal' in your nearest town or city. Does it still function? Is it now a disused building or has it been demolished?" (22), are included to let the student explore the world of theatre that exists around them with greater depth in order to make it more personal. Chapter 4, which examines some of the most familiar techniques of acting of Stanislavski, Brecht, Grotoswski, and Meisner, asks students to extend their research to other well-known techniques, such as those by Alexander Technique, Lessac, Laban, and Suzuki.

Another notable feature of Theatre Studies is the inclusion of sections that ask students to reflect on and discuss various ideas based on their readings from the text. Exercises such as chapter 9's ("Audience and Spectators") "Comment on Brecht's and David Hare's concepts of what transpires between actors and audience" (172) give students a chance to confer and question the theories of theatre practitioners put forth by the authors and encourage the facilitation of small-group discussions in class.

Finally, a website (<www.palgrave.com/foundations/pickering>) is intended to supply further activities and information to supplement the readings. At the time of this review, repeated efforts to access the site produced an error message stating that the page could not be found. A search of the website for the book's title ultimately produced the correct link, but students might not pursue this three-step search process. Many texts use websites to appeal to this generation's use of technology, and hopefully this situation will be rectified so that Theatre Studies can take advantage of this opportunity to offer supplementary instruction.

Since it is the authors' belief that today's theatre is made up of more than just what happens on a "live stage" (1), many other considerations and intersections between theatre and other media are considered. These intersections come...