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Abel, Lionel, Metatheatre (New York, Hill & Wang, 1963). Bas, Georges, 'Orphee et Eurydice dans The Sea d'Edward Bond', Etudes

Anglaises, 33, 1980, pp. 171-82. -- , 'TheAtre, histoire et politique dans une piece radiophonique: Pearl

(1978) de John Arden et Ia question irlandaise', Etudes Anglaises,39, 1986, pp. 424-37.

Blau, Herbert, To All Appearances: Ideology and Perfonnance (London & New York: Routledge, 1992).

Boireau, Nicole, 'Jeux et enjeux dans les pieces en un acte de James Saunders', Coup de Thilitre, 13, 1994, pp. 67-87.

Cohn, Ruby, Retreats from Realism in Recent English Drama (Cambridge Uni­versity Press, 1991).

--,Anglo-American Interplay in Recent Drama (Cambridge University Press, 1995).

Dallenbach, Lucien, Le recit speculaire: Essai sur Ia mise en abyme (Paris: Seuil, 1977).

Egan, Robert, Drama within Drama: Shakespeare's Sense of His Art in King Lear, The Winter's Tale and The Tempest (New York: Columbia Univer­sity Press, 1975).

Essif, Les, 'Introducing the "Hyper" Theatrical Subject: The Mise en Abyme of Empty Space', Journal of Dramatic Theory and Criticism, 9, 1994, pp. 67-87.

Forestier, Georges, Le thllitre dans le theatre sur Ia scene fran,aise du XVIIe siecle (Geneve: Droz, 1981).

Genette, Gerard, Palimpsestes (Paris: Seuil, 1982). Hallyn, Fernand, Onze etudes sur Ia mise en abyme - Romanica Gandensia

(Gent, Belgique, 1980). Homan, Sidney, When the Theater Turns to Itself: The Aesthetic Metaphor in

Shakespeare (London & Toronto: Associated University Press, 1981). Homan, Sidney, The Audience as Actor and Character: The Modern Theater

of Beckett, Brecht, Genet, Ionesco, Pinter, Stoppard and Williams (London & Toronto: Associated University Press, 1989).

Hornby, Richard, Drama, Metadrama, and Perception (London & Toronto: Bucknell University Press, 1986).

Hutcheon, Linda, Narcissistic Narrative: The Metafictional Paradox (Wilfrid Laurier University Press, 1980).

-,A Theory of Parody (London: Methuen, 1985). --, A Poetics of Postmodernism: History, Theory, Fiction (London: Routledge,

1988). Issacharoff, Michael, 'Inscribed Performance', Rivista Di Letterature Moderne

E Comparate, 39, Fasc. 2, 1986, pp. 93-105. --, 'Labiche et l'intertextualite comique', Cahiers de I' Association Interna­

tionale des Etudes Fran,aises, 35, 1983, pp. 169-82.

246

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Landow, George P., Hypertext: The Convergence of Contemporary Critical Theory and Technology (Baltimore & London: Johns Hopkins University Press, 1992).

Levy, Shimon, Samuel Beckett's Self-Referential Drama: The Three I's (London: Macmillan, 1990).

Ogee, Frederic et Rouyer, Marie-Claire, R. B. Sheridan: The Critic (Paris: Didier Erudition, 1995).

Pavis, Patrice, Le theatre au croisement des cultures (Paris: Corti, 1990). Ricardou, Jean, Nouveaux probl~mes du roman (Paris: Seuil, 1978). Rouyer, Marie-Claire, 'Identite et identification dans quelques exemples

de theAtre dans le theAtre: de Ia comedie classique emboitee au "one­man-show"', Cahiers du CERT, 6, 1979, pp. 68-98.

Schmelling, Manfred, Metatheiitre et intertexte: Aspects du theiitre dans le theiitre (Paris: Lettres Modernes, 1982).

Schlueter, June, Metafictional Characters in Modern Drama (New York: Columbia University Press, 1979).

Sommi (de'), Leone, Quatre Dialogues en Matiere de Representations Thet2trales (Paris: Rampazzio & Associc~s, 1992).

'Theatre on Theatre', a special issue of Modern Drama, 30, March 1987. Todorov, Tzvetan, Poetique de la prose (Paris: Seuil, 1971). Tornqvist, Egil, Transposing Drama: Studies in Representation (London:

Macmillan, 1991). Vanden Heuvel, Michael, Performing Drama/Dramatizing Performance: Alter­

native Theater and the Dramatic Text (Ann Arbor: The University of Mich­igan Press, 1991).

--, 'Complementary Spaces: Realism, Performance and a New Dialogics of Theatre', Theatre Journal, 44, 1992, pp. 47-58.

Wilshire, Bruce, Role Playing and Identity: The Limits of Theatre as Metaphor (Bloomington: Indiana University Press, 1982).

Wilson Ann, 'Fool of Desire: The Spectator to the Plays of Sam Shepard', Modern Drama, 30, 1987, pp. 46-57.

Index

actor, xiii, 40, 128, 140, 178, 196, 205, 243

adaptation, xiii, xiv, 15, 30, 48, 52, 136, 137, 203, 217, 221-5

Addison, Joseph, 235 AIDS culture, 200 Akuwudike, Jude, 126 alienation effect, 9, 156, 158

see also Brechtian, distance, V-Effekt

allegory, 173 ambiguity, 36, 37, 138 anachronisms, 65, 125 Andrews Sisters, The, 234 Annie Get Your Gun, 244n appropriation, 59 architextuality, 108 Arden, John, 15, 16, 17, 18, 19, 22,

24 Armstrong's lAst Goodnight, 19,

22, 23, 24 The Business of Good Government,

15, 17 The Island of the Mighty, 23, 24 The Non-Stop Connolly Show, 18,

22, 23, 24 Serjeant Musgrave's Dance, 22 Squire Jonathan, 18 Vandaleur' s Folly, 22 The Workhouse Donkey, 18

Aristophanes, 27 The Birds, 27 The Frogs, 27

Aristotle, 32, 52, 106n, 150n Aristotelian, 9, 13, 31, 40, 46,

103, 144, 146, 175 Armstrong, Louis, 234 Artaud, Antonin, 64, 67 audience, 3, 6, 17, 36, 37, 39, 41,

44, 46, 52, 83, 95, 98, 103, 108, 111, 114, 115, 118, 121, 125, 126, 128, 129, 130, 131, 135n, 153, 154, 157, 159, 161, 166,

172, 177, 182, 187, 193, 194, 197, 198, 199, 201, 202, 204, 206, 207, 212, 232, 233, 234, 243

see also spectator Austen, Jane, 80

Babel, Isaak, 216 Marya, 216

Baez, Joan, 179 Bakhtin, Mikhail, 108, 185 Bandiera Rosa, 179 Barker, Howard, 15, 16, 20, 31, 34,

35, 36, 37, 38, 52, 53, 59-71, 115, 121

The Castle, 15 The Last Supper, 15, 16, 20 The Love of a Good Man, 121 Women Beware Women, 59-71

Barker, Pat, 199, 209, 210 Blow Your House Down, 199,

207-10, 211 Barnes, Peter, 15, 20, 23, 24, 26

Cats, 20 Noonday Demons, 24 Red Noses, 15, 23, 26 The Ruling Class, 20

Barthes, Roland, 12, 173, 182 Bart6k, Bela, 174, 179 Beaumont, Francis, xiii

The Knight of the Burning Pestle, xiii Beckett, Samuel, xiv, 4, 20, 34,

91-107, 109, 119 Catastrophe, 102-3, 105n, 106n Eleutheria, 91-4, 95, 104n, 105n En attendant Godot, 94, 96 Endgame, 95-6 Footfalls, 98-9, 101, 105n Happy Days, 95-6 Human Wishes, 91, 94, 103, 104n Krapp's Last Tape, 105n Not I, 97-9, 104n, 105n Ohio Impromptu, 101-2, 104n

249

250 Index

Beckett, Samuel - continued A Piece of Monologue, 99-100,

105n Play, 96, 97, 98, 99, 105n Rocknby, 100-1, 105n That Time, 99 Waiting for Godot, 34, 95, 96, 104n Watt, 97

Beethoven, Ludwig van, 179 Behn, Aphra, 204

The Rover, 204, 213n Berkoff, Steven, 3, 6, 12, 13, 17

Greek, 3, 4, 6, 12 Lunch, 17

Berliner Ensemble, 15 Berman, Ed, 18 Bernstein, Leonard, 234, 243

Candide, 234 Big Sleep, The, 238 Bill, Stephen, 184

Heartlanders, 184, 185-7, 189, 191, 192, 193

Blakemore, Michael, 234, 240, 241 Bond, Edward, 3, 7, 8, 10, 13, 15,

16, 22, 26, 27, 72-88 The Bundle, 72, 73, 75-80, 83, 84,

85,86 Cat, 22 The Fool, 27 Jackets, 72, 74-82, 84, 85, 86 Narrow Road to the Deep North,

72, 76, 82, 83 Restoration, 22 We Come to the River, 22 The Woman, 3, 4, 7-10

Boucicault, Dion, 232 The Corsican Brothers, 232

Brecht, Bertolt, 5, 9, 10, 15, 20, 25, 28, 67, 172, 181

The Caucasian Chalk Circle, 76 Brechtian (device, dramaturgy), 15,

20-8, 64, 65, 156, 159, 161, 187, 188, 192

see also alienation, distance, V-Effekt

Brenton, Howard, 16, 19, 23, 31, 47, 48, 49, 50, 51, 52

Christie in Love, 23 Measure for Measure, 47

Scott of the Antarctic, 19 with David Hare, Pravda, 55n

Britten, Benjamin, 74 Broadbent, Jim, 126 Brook, Peter, 171, 173 Buckingham, George Villiers,

Duke of, 27 The Rehearsal, 27

Buddy, 232 Bunraku, 72, 86 burlesque, xiii, 9, 27 Bushido, 80, 87n Byron, George Gordon, Lord, 139,

142

Cabaret, 232 Call Me Madam, 235 Can-Can, 235 Carmen, 233 Carmen Jones, 232 carnival, 9, 13 Carr, 137, 138, 139, 141, 146, 148 Carroll, Lewis, 141, 217, 222, 223

Alice in Wonderland, 222, 223 Through the Looking Glass, 222

cartesian, 148, 175 Catastrophe, Theatre of, 36, 37, 62,

63, 64, 66, 67, 70n, 102 catharsis, 32, 52, 171, 181 Centre 42, 17 Chaplin, Charlie, 178 Chekhov, Anton, 135n

The Three Sisters, 135n Uncle Vanya, 217, 218

The Chocolate Soldier, 232 chorus, xiii, 130-2 Chorus Line, A, 235 Christie, Agatha, 139 Chu Chin Chow, 232 Churchill, Caryl, xiv, 16, 17,

152-67, 185, 187, 193, 199, 202, 207, 208, 209, 210

Cloud Nine, 152-61, 164, 166 Fen, 159, 161-6, 185, 187, 189,

191, 192, 193 Shreber's Nervous Illness, 17 Softcops, 152 Three More Sleepless Nights, 202 Top Girls, 199, 202-7, 209, 211

Index 251

circus, 94 city comedy, 38, 41, 42, 44 City of Angels, 234, 238-9, 240, 241,

243,244 Claudel, Paul, 84, 86, 87n clown, 147, 177, 178, 179 cognitivism, 54n, 146, 147 Coleman, Cy, 234 comedy, 4, 7, 30-2, 38-44, 45, 46,

50, 52, 53, 54n, 129, 134n, 140, 143, 145, 216, 225, 226, 228, 231, 241, 244

comedy of manners, 138 Congreve, William, 231 constructivism, 37, 54n contextualizing, 206 Crosby, Bing, 234 cross-fertilization, xiv, 191, 192 cross-gender (casting), 126-7 cultural (transformations), 30-53 culture, xiii, xv, 30, 31, 38, 41-5,

48, 52, 53, 54n, 143, 147

Damn Yankees, 239 Daniels, Sarah, 199, 207-10

Blow Your House Down, 199, 207-10, 211

deconstructive, 53 Deleuze, Gilles, 140, 150n Derrida, Jacques, 149n Descartes, Rene, 147 The Desert Song, 232 detective play, 139

see also thriller, whodunit devised theatre, 184-95 Devlin, Anne, 184

Heartlanders, 184, 185-7, 189, 191, 192, 193

dialogism, 108 discourse, 38, 53, 54n, 143, 144,

146 distance (distanciation), xii, xiv,

20-4, 67-8, 69, 142, 145, 174, 177, 180

see also alienation, V-Effekt Divina Project, 212n docu-drama, 180 double (doubling), 23, 121, 125,

139, 144, 145

dramatis personae, 41, 139 'drame bourgeois', 91

Eco, Umberto, 108 Edgar, David, 15, 17, 19, 21, 22,

26, 55n, 150n, 184, 191, 192 Entertaining Strangers, 17, 21, 26,

191 Heartlanders, 184, 185-7, 189,

191, 192, 193 0 Fair Jerusalem, 15, 19, 22, 26 Pentecost, 150n

Edo, 79, 87n Eliot, T. S., 52, 69, 147 epic (drama, form), 8, 9, 10, 13,

171, 174, 175, 176, 179 Excalibur, 25

farce, 43, 45, 49, 50, 52, 55n, 139, 179 Farewell, My Lovely, 238 Farquhar, John, 121, 125, 133n

The Recruiting Officer, 121, 123, 125-8, 133n, 135n

Feinstein, Elaine, 185 Lear's Daughters, 185, 188-91, 194 see also Women's Theatre Group,

The feminism, 192, 194, 197, 198, 199,

200, 201, 204, 205, 207, 209, 211

Feydeau and Desvallieres, 217 Signed and Sealed, 217

fiction, 40, 65, 128, 129, 137, 138, 139, 140, 143, 144, 207

fictional, 139, 144, 145, 148, 177, 184, 185, 187, 197

fictionality, 136, 137, 138 fictitious, 138, 139, 172, 176, 184,

185, 188, 194 Field Day Company, 8 film noir, 234, 238 Fletcher, John, 45, 46

The Faithful Shepherdess, 45 Foucault, Michel, 152 frame, 108, 138, 145, 149, 161, 172,

186, 187, 188, 189, 192, 194, 203

frame play, 137 frame-within-a-frame, 187

252 Index

Freud, Sigmund, 43, 146, 148, 153, 159

fringe, 16, 17

Gay, John, 231, 233, 235, 236, 237, 240, 243

The Beggar's Opera, 231-3, 235-7, 240, 241

gaze, xtii, 144, 145 Gelbart, Larry, 234 gender roles, 197, 203, 205, 210 Genet, Jean, 152, 154, 173 Gershwin, George, 232, 233, 242

Porgy and Bess, 232, 233 gestus, 181 Giselle, 179 Goldsmith, Oliver, 91 Greek myths, xiv, 3-14

Hamlisch, Marvin, 241 A Chorus Line, 241

Hampton, Christopher, 215-30 Alice's Adventures Underground,

217, 222 The Philanthropist, 217, 225,

226-8 Handel, George Frederick, 235,.243

Acis and Galatea, 235 Rinaldo, 235

Hare, David, 16, 19, 55n A Map of the World, 19 with Howard Brenton, Pravda,

SSn Havel, Vaclav, 102 Heaney, Seamus, 3, 7, 8, 10, 13, 68

The Cure at Troy, 3, 4, 7, 10 Heywood, Thomas, 38 history, xiv, xv, 3, 8, 10, 11, 13, 24,

25, 27, 31, 42, 44, 45, 50, 51, 53, 54n, 55n, 62, 63, 67, 68, 69, 79, 125, 136, 139, 147, 148, 157, 160-3, 165, 166, 171, 172, 174, 175, 177, 178, 182, 202, 206

Horvath, Odon, von, 217, 219 Don Juan Comes Back from the

Wars, 217 Tales from the Vienna Woods, 217,

219-221 humanism, 68

hybridization, xiii, 59, 62 Hynes, Garry, 129 hyperrealism, 145 hypertextuality, 109 hypotext, 26, 137

-Ibsen, Henrik, 157, 158, 204, 211, 217 A Doll's House, 157, 204, 211,

213n, 217 Ghosts, 217 Hedda Gabler, 157, 217, 218 The Wild Duck, 217

idealism, 37 ideology, xiv, xv, 28, 36, 38, 141,

147-9 images-within-images, xiv, 118 imitation, 37, 70n, 144

see also mimesis, repetition inner play, 137, 138 inscribed plots, 137 interaction, 18, 212 intercultural, 173 Internationale, The, 179 interplay, xiv, 143, 166 interpretation, 45 intertextuality, 31, 62, 66, 68, 69,

70n, 108, 109, 111-13, 115, 117-19, 137, 174, 176, 178, 179, 181, 185, 186, 191, 232, 242

Ionesco, Eugene, 178 Ireland, 10, 11 irony, 32, 40, 41, 53 Izumo, Takeda, 79

Jacobean (drama), xiv, 30, 31, 32, 33, 48, 51, 59

James, Henry, 137 Japanese forms, xiv, 72-88 Jellicoe, Ann, 17, 18

The Reckoning, 18, 28n The Western Women, 18

Jidaimono, 79 Johnson, Samuel, Dr, 91 Joint Stock Theatre Group, 161,

185, 187, 193 Jonson, Ben, 38, 54n

Every Man in His Humour, 54n Joyce, James, 137, 139, 141

Ulysses, 137, 139

Index 253

Kabuki, 72, 78-87n Keefe, Barrie, 31, 41-3, 45, 48, 52, 53

A Mad World My Masters, 41-5 Keneally, Thomas, 121

The Playmaker, 121 Khaled, 84 Kismet, 232 Kristeva, Julia, 108 Ky6jo, Mono, 74

Lacan, Jacques, 165 Laclos, Choderlos de, 217

Les Liaisons Dangereuses, 217, 219, 222, 223-5

Laing, R. D., 152 Lapine, James, 242 Lawrence, David Herbert, 63 Lipkin, Joan, 199, 210, 212

Small Domestic Acts, 199 literary heritage, 136, 139, 140 Little Me, On the Twentieth Century,

241 Lloyd-Webber, Andrew, 234

Cats, 241 Evita, 241 The Phantom of the Opera, 232, 241 Sunset Boulevard, 232, 241, 242

Logan, Joshua, 79 Loesser, Frank, 237

Guys and Dolls, 237, 238

MacLennan, Elizabeth, 171-82 Watching for Dolphins, 171-82

Magdalena Project 201, 208, 212n3 Magritte, Rene, 136 mainstream, 16, 29n, 216 Maltese Falcon, The, 238 Mamet, David, 116

Oleanna, 116 Marlowe, Christopher, 69

The Jew of Malta, 69 Marx, Karl, 55n Maupassant, Guy de, 158

Pierre et Jean, 158 McGrath, John, xiv, 22, 171-82, 193

The Cheviot, the Stag and the Black, Black Oil, 22, 192, 193

Watching for Dolphins, 171-82 metacommunication, 174

metadiscourse, 21, 143 metadrama, xii, xiii, 91-6, 98, 99,

101-4, 105n, 136, 140, 142, 144-9, 190, 193

metafictional, 62 metamyth, 4 metaphor, xiv, 3, 4, 9, 11, 21, 26,

31, 34, 117, 136, 141, 144, 145-8, 160, 173, 174, 176-8, 181, 204, 234, 239

metatextuality, 66, 68, 108, 109 metatheatre, xii, 68, 91, 99, 104n,

125, 127, 128, 129, 134n, 135n, 154, 180, 202

Middleton, Thomas, 31, 32-4, 36, 38-41, 43-6, 52, 59-71

A Mad World My Masters, 31, 38-41

Women Beware Women, 31, 32, 36 Midnight Level 6, 208 mimesis, 70n, 136, 141, 144

mimetic(ally), 146, 159 mimicry, 65 see also imitation, repetition

mirror, 37, 65, 132, 144, 148, 204, 208, 211

mirroring (effect, process), 121, 137, 144, 172, 180, 181

mise en abyme, xiii, 137 Miserables, Les, 242 mise en scene, 142 Miss Saigon, 232 Mizoguchi, Kenji, 82 Mnouchkine, Ariane, 18

1789, 18 Mobile Street Players, The, 17 model, xiii, xiv, 4, 13, 139, 140,

174, 176, 177 Moliere, 217, 225, 226, 228

Don Juan, 217 Le Misanthrope, 217, 225, 226, 228 Tartuffe, 217

monologue, 97, 98, 100, 171, 172, 175

Monty Python and the Holy Grail, 25 Mozart, Wolfgang Amadeus, 179 multimedia, 198, 200 multicontextual, 200 multiracial casting, 199

254 Index

multireferential, 182 mummers' plays, 21, 26, 27 music-hall, 94, 188, 192, 242 musical (theatre), xiv, 38, 231-44 myths, xiv, 3, 4-14, 115, 117,

130-1, 139, 173 mythology, 8, 238

narrativity, 180 National Theatre (Royal), 5, 196,

242, 243 naturalism (naturalistic

conventions), 15, 17, 20, 141, 142, 176, 177, 202

Nestroy, Johann, 221 Einen Jux will er sich machen, 221

Nietzsche, Friedrich, 141 Nine o'Clock News, 43 Noh, 72-8, 86

Oedipus Rex, 76, 165 opera, 232, 233, 234 Oresteia, The, 104 Out of Joint, 135n21 outer play, 137, 138

palimpsest, 26, 108 pantomime, 92, 94, 240 parable, 72, 74, 172, 175, 238-9 paradox, xv, 22, 24, 28, 37, 38, 39,

41, 45, 47, 50-3, SSn, 139, 145 paratextuality, 108 parody, 7, 9, 26, 27, 108, 109, 111,

114, 116, 119, 136, 231, 233, 235, 242, 243

pastiche, 109, 136, 233, 234 pasticheur, 242

perception, xiii, 37, 52, SSn, 144, 146 performance, xiv, 5, 7, 8, 13, 40,

44, 48, 74, 78, 79, 91, 96, 101, 103, 109, 112, 122, 124, 125, 128, 129, 137, 140, 141, 143-6, 165, 172, 175-8, 182, 183n, 184, 191, 197-203, 205, 206, 208, 210, 211, 236, 237, 244

performance art, 142, 192 performative (performativity), 91,

141 perspective, 31, 144, 145, 148

Philoctetes, 4, 5, 8, 10, 11 Pinter, Harold, xiv, 108-20

Betrayal, 114-17, 119 The Birthday Party, 117-18 The Caretaker, 113 The French Lieutenant's Woman, 116 The Homecoming, 112, 113, 117 The Hothouse, 117, 118, 119 A Kind of Alaska, 116 lAndscape, 115, 117 Moonlight, 108, 110-14, 116, 117,

119 Mountain Language, 115, 116 No Man's Land, 112-15, 119 One for the Road, 116, 117 Old Times, 112, 114, 119 Party Time, 115, 116, 117 The Remains of the Day, 116

pinteresque, 108, 109, 110, 113, 114, 116-19

Pirandello, Luigi, 91, 94, 104n Plautus, 241 play-within-the-play, xiii, 11, 25-7,

40, 41, 43, 125, 126, 129-31, 136, 137, 149n

political drama, 15-29 Pope, Alexander, 231, 236, 240 popular (forms), 171, 172, 178, 182 Porter, Cole, 232, 237, 242

Kiss Me, Kate, 232, 233, 238 postmodernism, xiii, xv, 25, 28, 45,

62, 78, 136, 141, 146, 174, 179, 180, 181

Poussin, Nicolas, 144 Prince Igor, 232 problem plays, 45 Puccini, Giacomo, 233

Madame Butterfly, 233

realism, xiv, 37, 45, 47, 52, 110, 127, 141, 152-6, 157-9, 161, 162, 166, 177, 205

reality, 37, 40, 43, 44, 52, 56n, 153 reconstruction, 30, 37 re-contextualization, xiii, 143 re-creation, 3, 7, 9, 30, 37, 52, 165

re-playing, xiii, 38 re-presentation, .45-51 re-writing, xiii, 144, 217, 225-7,238

Index 255

reflexivity, xii, xiv, 3, 38, 41, 45, 52, 104n, 108, 136, 139, 141, 142, 145, 182, 198

reinterpretation, 146, 148, 226 repetition, 138, 139, 140, 141, 143,

145-9, 200 see also imitation, mimesis

replica, 18, 76 representation, xiii, xiv, 17, 52,

70n, 136, 141, 144, 145, 146, 153, 155, 158, 159, 166, 184, 191, 196, 200, 201, 206

Research Theatre International, 201 revision, 31, 45, 52 Rich, John, 240 ritual, 12, 148, 194 role-playing, xiii, 141, 156, 197,

198, 202, 203, 206, 207, 209, 212

see also gender romantic comedies, 46 Royal Court Theatre, 121, 202 Royal Shakespeare Company, 129,

199, 241, 242 Rudkin, David, 24

The Saxon Shore, 28 Russell, Willy, 232

Blood Brothers, 232

Satie, Eric, 243 satire, 32, 45, 51 Saunders, James, 149n Saussure (de), Ferdinand, 244 Schnitzler, Arthur, 217 self-examination, xii, xiv self-reflexivity, see reflexivity semiosis, 65 Seurat, Georges, 242 7:84 Theatre Company, 192 Sewamono, 79 Shakespeare, William, xiii, 10, 21,

31, 32, 45-52, 55n21, 67, 137, 139, 140, 143, 145, 189, 190, 194, 199, 204, 233

As You Like It, 204, 213n Hamlet, xiii, 113, 137 King Lear, 189, 190, 191, 194 Measure for Measure, 31, 45-6 The Merchant of Venice, 62

A Midsummer Night's Dream, xiii Richard II, 96 Romeo and Juliet, 199, 232 The Taming of the Shrew, xiii The Tempest, 10 The Winter's Tale, 76

Sharp, Lesley, 126 . Sheridan, Richard, 27

The Critic, 27 shite, 72-5 Simmons, Pip, 28 Smart, Annie, 185 Smith, Mossie, 127 Sondheim, Stephen, 234, 241-3

Company, 241 Follies, 241-3 A Funny Thing Happened to Me

on the Way to the Forum, 241 Into the Woods, 242 A Little Night Music, 241, 243 Merrily We Roll Along, 242 Passion, 242 Sunday in the Park with George,

242,243 Sweeney Todd, 241, 242

Soyinka, Wole, 3, 5, 10, 11, 12, 13 The Bacchae of Euripides, 3, 4, 5,

7, 10-12 space, 17-20, 143, 145 spectator, xiii, 17, 33, 36, 37, 40,

41, 44, 45, 52, 93, 140, 142, 144, 147, 159, 176, 178, 180, 186, 187, 189

Stafford-Clark, Max, 121, 126, 135n21, 202, 206 ·

Stanislavski, Constantin, 16 Steiner, George, 217, 218

The Portage· of San Cristobal of A. H., 217, 218

stereotype, 176, 177, 178, 210, 211 Stoppard, Tom, xiv, 27, 62, 66,

136-51, 196, 197, 212, 221 Arcadia, 136, 139, 142-7, 150n Artist Descending a Staircase, 144,

145 Cahoot's Macbeth, 136, 137, 143 Dogg's Hamlet, 136, 137, 141,

149n Hapgood, 136, 140, 142-7, 149n

256 Index

Stoppard, Tom - continued Indian Ink, 136, 139, 143-5, 147,

149n, 150n In the Native State, 149n Jumpers, 139, 149n On the Razzle, 221 The Real Inspector Hound, 136,

137, 139, 143, 144 The Real Thing, 136, 137, 138,

144, 149n Rosencrantz and Guildenstern are

Dead, 136, 137, 139, 140, 197 Travesties, 136, 137-8, 140, 141,

143, 146-8, 149n, 150n subversion, 24, 30, 31, 33, 38, 44-7,

51-3,54n,56n, 143 Sweet Charity, 241 Swift, Jonathan, 231 symbol, 7, 11, 155

Tennant, Emma, 62 Women Beware Women, 62

Terakoya, 79, 85 Terence, 39

Heautontimorumenos, 39, 41 text, xiii, xiv, 30, 50, 64, 69, 108,

130, 139, 141, 154, 166, 185, 188, 197, 200, 201, 203, 206, 210, 221, 222, 232, 243

Thatcher, Margaret, 42, 80, 127, 172, 202, 205, 206

theatereality, 92, 94-103, 104n, 105n

theatre on theatre, 186 theatricality, xii, xiv, 14, 66, 136,

142, 143, 146-9, 152, 153, 158, 165, 177

Theodorakis, Mikis, 173-5, 179 thriller, 139, 150n

see also detective play, whodunit Tis Pity She's a Whore, 137, 138 tragedy, 4, 11, 23, 30-4, 36-8, 40,

45, 46, 49, 50, 51-3, 54n, 95, 129, 140, 143, 144, 174, 225

tragicomedy, 30, 31, 45, 50, 52, 53 transcoding, xiii transformations, 30, 34, 35, 39, 44,

48, 50, 132 cultural transformations, 30-53

translation, xiii, xiv, 216, 217-21 transtextuality, 108 transvestite, 178 travesty, 3, 4, 7, 8, 142, 143

see also Stoppard, Tom, Travesties trompe-l'oeil, 142, 145, 148

V-Effekt, 13, 145 see also alienation, Brechtian,

distance values, 32, 38, 40, 47, 52, 53, 149 vaudeville, 92, 95, 104n, 242, 243

waki, 72-5 Warrilow, David, 100 Waters, Les, 185 Wedekind, Frank, 217 Welfare State, 18

The Travels of Launcelot Quail, 18 well-made play, 9, 91-4, 96, 105n Wertenbaker, Timberlake, xiv,

121-35 The Break of Day, 135n Hippolytus, 129, 130 The Love of the Nightingale,

129-32 Our Country's Good, 121-9

Wesker, Arnold, 16, 17, 62 West Side Story, 232, 241 When Spring Comes, 17 Whitelaw, Billie, 105n whodunit, 137, 139, 150n

see also detective play, thriller Wife of Bath, The, 233 Wilde, Oscar, 137, 138, 142, 146, 147

The Importance of Being Earnest, 137, 138

Williams, Raymond, 53 Wittgenstein, Ludwig, 149n

Philosophical Investigations, 149n Women's Theatre Group, The, 185

Lear's Daughters, 185, 188-91, 194 wordplay, 41, 43, 141-2

Yoruba, 5, 6, 12

Zeami, 72, 77 Zen,78 Zippel, David, 234