This long-awaited edition brings together for the first time 366 letters, cards and telegrams exchanged between Craig and his patron the cosmopolitan Count Kessler. An important primary source, illuminated by Dr Newman's commentary, it focuses on three areas of particular importance: - 1. Craig's artistic ideas and the spread of his influence through exhibitions and books; proposals are developed for work with Otto Brahm, Eleonora Duse, Max Reinhardt, Henry van de Velde, Eduard Verkade, Leopold Jessner, Dyaghilev, Beerbohm Tree, C. B. Cochran, and others. 2. Kessler's Cranach Press Hamlet with wood-engraved illustrations by Craig; this is a landmark in the history of twentieth-century book design and printing whose genesis is now fully revealed in these letters and amplified with reproductions of eighteen trial page proofs. 3. The relationship between an artist and his patron. Exceptionally detailed indexes are an additional feature of this book

No study of modern theater is complete without a thorough understanding of the enormous influence of visionary genius Edward Gordon Craig. Born in England in 1872, Craig went on to become famous world-wide as an actor, manager, director, playwright, designer, and most importantly an author and theorist, whose books were translated into German, Russian, Japanese, Dutch, Hungarian, and Danish. Although an essential parallel to the European avant-garde, Craig was often read as "exceptional" and highly innovative in his native Britain, thus, The Mask not only appears as Craig's main cosmopolitan project but also at times functions as a surrogate stage for his experiments in theater practice. The book has a comprehensive chronology, extensive notes and a bibliography making it an essential text for undergraduates, postgraduates, actors, theatre professionals, designers, directors, researchers and writers in the fields of theatre studies (especially theater set and lighting) and theater history.

"A richly contextualized portrait of a key Weimar figure, who deserves to be better known. Easton is a lively writer."—Martin Jay, University of California, Berkeley "Provocative and original. The Red Count should be welcomed by a growing number of cultural historians interested in reassessing the politics of European modernism and in current debates about the trajectory of German political culture and cultural politics in the decades before the rise of fascism."—Kevin Repp, Yale University "A major addition to understanding the cultural contributions Germany made to the modernist impulse, especially in the years before 1914. Kessler’s numerous activities, as delineated by the author, attest to the cosmopolitanism of many within Germany’s urban, liberal elite. The Red Count is extremely well-written. Easton’s prose is fluid, colorful, and eminently readable. " —Marion Deshmukh, George Mason University

The fourteen essays included in this collection offer a range of contributions from both new and well-established scholars to the topic of Shakespeare and performance. From traditional studies of theatrical history and adaptation to explorations of Shakespeare’s plays in the circus, musical extravaganzas, the cinema, and drama at large, the collection embraces a number of performance spaces, times, and media. Shakespeare in Performance includes essays looking not only at sixteenth- and seventeenth-century stagings of the plays in England, but at productions of Shakespeare across time in the United States, France, Italy, Hungary, and Africa, underscoring the multiple embodiments and voices of Shakespeare’s art and including a variety of cultural approaches. The work is ultimately occupied with a number of questions generated by these continual iterations of Shakespeare. How can we write and trace what is ephemeral? To what purpose do we maintain the memory of past performances? How does the transmediation of Shakespeare inform the most basic interpretive acts? What motivates Shakespearean theatre across political borders? What kinds of meaning are produced by décor, movement, the actor’s virtuosity, the producer’s choices, or the audience’s response? Each essay thus, to some degree, describes and voices the now unseen.

Illuminates the historical and aesthetic relationship of print to avant-garde performance

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This book is a historical study of the use of Asian theatre for modern Western theatre as practiced by its founding fathers, including Aurélien Lugné-Poe, Adolphe Appia, Gordon Craig, W. B. Yeats, Jacques Copeau, Charles Dullin, Antonin Artaud, V. E. Meyerhold, Sergei Eisenstein, and Bertolt Brecht. It investigates the theories and practices of these leading figures in their transnational and cross-cultural relationship with Asian theatrical traditions and their interpretations and appropriations of the Asian traditions in their reactional struggles against the dominance of commercialism and naturalism. From the historical and aesthetic perspectives of traditional Asian theatres, it approaches this intercultural phenomenon as a (Euro)centred process of displacement of the aesthetically and culturally differentiated Asian theatrical traditions and of their historical differences and identities. Looking into the displaced and distorted mirror of Asian theatre, the founding fathers of modern Western theatre saw, in their imagination of the 'ghostly' Other, nothing but a (self-)reflection or, more precisely, a (self-)projection and emplacement, of their competing ideas and theories preconceived for the construction, and the future development, of modern Western theatre.