The Oxford Encyclopedia of Theatre and Performance

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This new encyclopedia from Oxford views theater and performance as "human expressions with large cultural significance." These expressions extend beyond traditional theater to include opera, film, dance, radio, and even circuses, rituals, and parades. The 4,300 alphabetically arranged entries span all time periods, starting with ancient Greek theater to the present, and are international and cross-cultural in scope. Entries range from a small paragraph to several pages; only the longer entries have brief bibliographies. There is, however, a general bibliography, divided up geographically and consisting of only monographs, at the end of volume 2. Almost half (around 45 percent) of the subject matter consists of biographical entries on actors, playwrights, directors, designers, company managers, and critics (e.g., Ferber, Edna; Ferron, Jacques). Ten percent consists of city and regional entries (Istanbul, Philadelphia). The rest consists of concepts and theories (Pornography and performance); styles and movements (Alternative theatre, Ballad opera); historical themes (Ghost); organizations and institutions (Czech National Theatre); buildings and material elements (Amphitheatre); and media issues (Cyber theatre). A thematic table of contents divides entries into these eight categories, offering alternative access. There is also a "Selective Index of Dramatic Titles" that lists works and the entries in which they are mentioned (for example, Rent is discussed in the Musical play entry). This helps to compensate for the fact that there are no main entries on individual play titles. Additional features of the set include a list of the scholarly editors and contributors with brief biographical information, cross-references, occasional black-and-white illustrations, and a time line that situates key historical and cultural events with corresponding theater and performance events.There are several reference theater books currently available that touch on some similar ground. Which one is the best depends on the features being sought. For example, International Dictionary of Theatre (St. James, 1992) offers better coverage of individual plays. The six-volume World Encyclopedia of Contemporary Theatre (Routledge, 1994) has even more detailed international coverage of current theater practice in other countries but lacks comparable ease of access. Continuum Companion to Twentieth Century Theatre (Continuum, 2002) is a less scholarly alternative for recent theater. Ultimately, although The Cambridge Guide to Theatre (rev. ed., Cambridge, 1995) remains the most comprehensive single-volume reference source and, at $50, is relatively cheap, The Oxford Encyclopedia is a solid set, recommended for academic and large libraries with strong theater collections. RBB
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Book Description
From ancient Greek theatre to the latest developments in stage design, from the trance-dances of Sumatra to an extensive biography of the legendary actor-manager Eleonore Duse, the Encyclopedia provides unrivaled information across the broad sweep of theatrical activity. The Encyclopedia's inclusive approach encompasses opera and film, dance and radio, and para-theatrical, non-dramatic performances including circuses and carnivals, and parades and public executions--providing truly extensive coverage from ancient Greek theatre to the latest developments in London, Paris, New York, and around the globe. The Encyclopedia pays special attention to non-Western styles through articles on theatre and performance throughout the many countries and traditions of Asia and Africa. Numerous biographical entries cover the lives and work of major figures: actors, playwrights, directors, designer, company managers, and critics. A unique feature of the Encyclopedia is the series of articles on concepts, theories, and critical approaches, ranging from short definitions of terms like catharsis and monologue to more lengthy considerations of farce and tragedy. Race and theatre, the nature of acting, censorship, safety, special effects, and media and performance are all debated. In all, the 4,300 entries by renowned contributors remain accessible in language and approach and take advantage of the theoretical and historiographical developments in the field. The combination of rich detail and accessible language and style make The Oxford Encyclopedia of Theatre and Performance the resource of choice for readers interested in theatre and performance, from occasional playgoers to newspaper critics, students, and scholars.


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This new work on theater and performance will set the standard for decades and become the reference of choice in these areas. It's not perfect-nothing of this sort can be-but it is thorough, carefully thought out, and easy to use. Kennedy (Samuel Beckett Professor of Drama and Theatre Studies, Sch. of Drama, Trinity Coll., Dublin) has arranged the 4300 entries alphabetically, with a thematic table of contents at the start that serves as a guide. Biographical entries make up 45 percent of the text, and most are short-two or three to a column. But many of the entries on concepts and history, as well as styles and movements, are much longer. The item on "Scenography," for example, is 13 double-columned pages-a small textbook on history and theory-and while it lacks illustrations or designs, it does contain a bibliography of essential works. Overall, the great strength of this work is its global nature, touching on all kinds of performance, including ritual, public executions, dance, sport, sex shows, the new media, and cyber-theater. Your favorite niche figure may not be mentioned, but many are. For example, McKee Rankin was omitted, but T.C. Murray was not. Ann Bogart is here as well, though there is no essay on her Viewpoints. Illustrations break up the density of the text. The international authors and editors bring a true breadth to the effort. Essential for both public and academic libraries.-Thomas E. Luddy, Salem State Coll., MA Copyright 2003 Reed Business Information.


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