Brief Notices
- Brief Notices
This volume begins with a list of illustrations (viii), a list of contributors (ix–xvii), acknowledgments (xviii), a foreword by Wilt L. Idema (xix–xxii), and an introduction by the editors (1–4). The primary text includes essays in ten parts. Part 1, “Setting the Scene: Playwrights and Localities,” includes: Yongming Xu, “The Backdrop of Regional Theatre to Tang Xianzu’s Drama” (5–19); Paul Edmonson, “Stratford-upon-Avon: 1616” (20–34). Part 2, “Classics, Tastes, and Popularity,” includes: Wei Hua, “The ‘popular turn’ in the Elite Theatre of the Ming after Tang Xianzu: Love, Dream and Deaths in The Tale of the West Loft” (36–48); Nick Walton, “Blockbusters and Popular Stories” (49–62). Part 3, “Making History,” includes: Ayling Wang, “Shishiju as Public Forum: The Crying Phoenix and the Dramatization of Contemporary Political Affairs in Late Ming China” (64–75); Helen Cooper, “Dramatizing the Tudors” (76–94). Part 4, “The State and the Theatre,” includes: Tian Yuan Tan, “Sixty Plays from the Ming Palace, 1615–18” (96–107); Janet Clare, “Licensing the King’s Men: From Court Revels to Public Performance,” (108–20). Part 5, “The Circulation of Dramatic Texts and Printing,” includes: Stephen H. West, “Tired, Sick, and Looking for Money: Zang Maoxun in 1616” (123–34); Jason Scott-Warren, “Status Anxiety: Arguing About Plays and Print in Early Modern London” (135–48). Part 6, “Dramatic Authorship and Collaboration,” includes: Patricia Sieber, “Is There a Playwright in this Text? The 1610s and the Consolidation of Dramatic Authorship in Late Ming Print Culture” (150–62); Peter Kirwan, “‘May I subscribe a name?’: Terms of Collaboration in 1616” (163–78). Part 7, “Audiences, Critics and Reception,” includes: Shih-pe Wang, “Revising Peony Pavilion: Audience Reception in Presenting Tang Xianzu’s Text” (180–93); Anjna Chouhan, “‘No epilogue, I pray you’: Audience Reception in Shakespearean Theatre” (194–209). Part 8, “Music and Performance,” includes: Mei Sun, “Seeking the Relics of Music and Performance: An Investigation of Chinese Theatrical Scenes Published in the Early Seventeenth Century” (210–21); David Lindley, “Music in the English Theatre of 1616” (222–34). Part 9, “Theatre in Theory and Practice,” includes: [End Page 427] Regina Llamas, “Xu Wei’s A Record of Southern Drama: The Idea of a Theatre at the Turn of Seventeenth-Century China” (236–48); Will Tosh, “Taking Cover: 1616 and the Move Indoors” (249–62). Part 10, “Theatre Across Genres and Cultures,” includes: Xiaoqiao Ling, “Elite Drama Readership Staged in Vernacular Fiction: The Western Wing and The Retrieved History of Hailing” (264–76); Kate McLuskie, “‘There be salmons in both’: Models of Connection for Seventeenth-Century English and Chinese Drama” (277–94). The volume concludes with an afterword by Stanley Wells (295–98), works cited (299–318), and an index (319–26).
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This volume begins with a list of figures (xii–xiii), acknowledgments (xiv), a forward by Geoffrey Rush (xv), notes on contributors (xvi–xxiv), and a general introduction by the editors (1–6). The primary text includes essays in four parts. Part 1, “Influences and Antecedents,” begins with an introduction by Mark Evans (9–11) and includes: Nigel Ward, “The French Theatrical Avant-Garde” (12–18); Vivian Appler, “Mime, ‘Mimes’ and Miming” (19–26); Gillian Arrighi, “The Rediscovery of the Mask” (27–34); Bruce McConachie, “Jacques Lecoq and the Challenge of Modernist Theatre, 1945–1968” (35–42); Tom Cornford, “Jacques Lecoq and the Studio Tradition” (43–50); Claudia Sachs, “Bachelard, Jousse and Lecoq” (51–58); Jon Foley Sherman, “Space and Mimesis” (59–66); Clare Brennan, “Movement Made Visible: Marey and Lecoq” (67–78); Pardis Dabashi, “Literature, Lecoq, and the ‘Nouveau Roman’” (79–86); Gloria Pastorino, “The Body Voice of Satire: Jacques Lecoq and Dario Fo” (87–96). Part 2, “Inspiration and Evolutions,” begins with an introduction by Rick Kemp (99–103) and includes: Mark Evans, “The Influence of Sports on Jacques Lecoq’s Actor Training” (104–11...
