This book is an insiders’ account of the groundbreaking Moscow production of Chekhov's The Seagull directed by Anatoly Efros in 1966, which heralded a paradigm shift in the interpretation and staging of Chekhov’s plays. It is a unique glimpse behind the curtain of the laboratory of new Russian theatre in the twentieth century. Efros' articles about Chekhov and The Seagull, his diaries, interviews and conversations, and most importantly the original rehearsal records combine to form an in-depth account of of the director and his working process. This is an essential book for anyone with an interest in Chekhov and the history of modern Russian theatre.

Who's Who in Contemporary World Theatre is a lively and accessible biographical guide to the key figures in contemporary drama. All who enjoy the theatre will find their pleasure enhanced and their knowledge extended by this fascinating work of reference. Its distinctive blend of information, analysis and anecdote makes for entertaining and enlightening reading. Hugely influential innovators, household names, and a whole host of less familiar, international figures - all have their lives and careers illuminated by the clear and succinct entries. All professions associated with the theatre are represented here - actors and directors, playwrights and designers. By virtue of the broad range of its coverage, Who's Who in Contemporary World Theatre offers a unique insight into the rich diversity of international drama today.

This work discusses why so many western theatre workers have come to India and what they were looking for. It identifies Indian theatre as a site of reappraisal and renewal both in India and in the world of performance.

This book addresses the political and aesthetic concerns of modern Indian theatre, tracing its genealogies, and looking in particular at its appropriation of 'folk' theatre. Starting with the plays of Bharatendu Harishchandra in 1870s Banaras, the book moves forward to Jayshankar Prasad and Mohan Rakesh, landmark figures in the history of modern Indian drama. Dalmia then focuses on the intense urban interaction with folk theatre forms, their politicization in the 1940s and later again in the 1970s. Finally the book maps some of the routes taken by avant-garde women directors since the last decades of the twentieth century. Theatre students, critics, cultural historians, scholars of South Asian theatre, as well as general readers will find the book inspiring.

This is volume 1, part 4 of the Performing Arts International forum. This collection of essays covers a breadth of topics on the theme of consciousness; addressing the trend of studies trying to put human experience into more concrete, cogent, less poetic and metaphorical terms. Major issues raised by the essays are summarised, and a hypothesis serving as a stimulus for further research and debate is suggested by the volume's conclusion.

Between Tongues takes the subject of performance translation in a completely new direction. While the topic is often discussed in relation to the translation of dramatic texts, such as Shakespeare in Malay, the authors in this collection examine presentations of traditional and contemporary works in Asia in their original languages before audiences who do not share that language. They also discuss translation as a phenomenon inherent to much performance in Asia, particularly in multilingual settings.