Actor and player: Richard Burbage and Edward Alleyn Director and Designer: Kazan and Mielziner's plans for Death of a Salesman African American Narrative Drama Bunraku Puppets Sara Berhardt's Phedre The Children's Companies of Shakespeare's Day Max Reinhardt: Director Picasso's Parade Blackface: Minstrelsy and negative images of Black Americans The Roman Ideal: A survey of Renaissance and Baroque Costume Chinese Opera Four centuries of Midsummer Night's Dream: Shakespeare, Tieck, Reinhardt, and Peter Brook Focus on important women in the theatre (e.g. Vestris, Ellen Terry, Eleanora Duse, Sarah Bernhardt, Rachel, Janet Achurch, Stella Adler) Rangda Barong (or another non-western theatrical ritual) The Elizabethan shareholder system How the Chinese acting technique of Mei Lan Fang influenced Brecht Orson Welles' Mercury Theatre "Voodoo" Macbeth Actresses on the Restoration Stage New Discoveries about The Rose Theatre Stanislavski and Strasberg compared The use of historically accurate costumes on stage The Master Betty phenomenon Lope de Vega and The Spanish Golden Age The staging of Fuente Ovejuna Immanuel Kant and theatre Theatrical practices of the Bancrofts at the Prince of Wales Epic Theatre's influence on contemporary staging The Duke of Saxe Meiningen's contribution to theatre art Robert Edmond Jones - first professional scenographer in America Adolphe Appia and stage lighting innovations Developments in stage lighting from candles to candlepower The Theatrical Syndicate Focus on an important actor (e.g.
In this theatre history is both unnatural and inhuman.
Violent suffering without end or grace goes against the notion of a fall from a greater nature or the prospect of a redeemed nature to come.
If we are to awake from the nightmare of history, perhaps such historicism should be left alone to dull the air with discoursive moans, as Aeneas puts it in Marlowe's Dido, Queen of Carthage.
The persistent naturalisation of suffering in history should be resisted if the process of transmitting historical documents is not to further the process.
History is then seen as the non-identity of nature with itself, unnatural forces struggling with natural ones.
Unnatural forces, however, must also be seen as emerging from nature, while the dramatisation of history in terms of human agency suggests that unnatural acts are an aspect of human nature for which no secular concept of wordly evil is adequate.
On such an unnaturally cruel and violent stage dominated by seemingly arbitrary and unreliable powers, the possibility that evil might be recognisable without theology is consoling.
Indeed it is the reduction of history to worldly evil which makes it possible to stage history as a state of unnatural nature that can be lamented.
As an academic guise in which to rework the glories of the past without pausing too long over the enormity of the history surveyed, the reproduction of literary history now lies in the hands of those who can offer few reasons for continuing to produce the object of critique.
Sinfield suggests that, `New historicists, therefore, like their colleagues, are sustaining many of the old routines while knowing, really, that their validity has evaporated.' As such, new historicists could be described as reformists who do not believe in progress.