By Thomas Postlewait, Bruce A. Mcconachie
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Extra info for Interpreting the Theatrical Past: Essays in the Historiography of Performance
Sample text
6. 18. Semiology has concerned itself with the study of theatrical performance as a system of signs. See especially Keir Elam, The Semiotics of Theatre and Drama (London and New York: Methuen, 1980). s. 4 (1979), 157171. 19. Raymond Williams, Drama in Performance (London: Chatto and Windus, 1954; rev. 1968). 20. A. M. Nagler, A Source Book in Theatrical History (New York: Dover, 1959), p. xxiii. 21. Arnott, "An Introduction to Theatrical Scholarship," p. 42. 22. A. M. Nagler, The Medieval Religious Stage (New Haven and London: Yale University Press, 1976), p.
Max Herrmann in Berlin is usually credited with founding Page 7 Theaterwissenschaft, the historical study of theatrical practice. The German school of theatre history, vigorously championed in the United States by A. M. Nagler, remains rigorously "scientific" in its emphasis on primary documentary evidence and in its reluctance to go beyond demonstrable fact. For them, original research means, in effect, archival research. This "purist's stance" (the phrase is Nagler's) has not been universally accepted, but the insistence on a systematic method for dealing with the materials of theatre history remains a healthy antidote to earlier dilettantism.
See especially Keir Elam, The Semiotics of Theatre and Drama (London and New York: Methuen, 1980). s. 4 (1979), 157171. 19. Raymond Williams, Drama in Performance (London: Chatto and Windus, 1954; rev. 1968). 20. A. M. Nagler, A Source Book in Theatrical History (New York: Dover, 1959), p. xxiii. 21. Arnott, "An Introduction to Theatrical Scholarship," p. 42. 22. A. M. Nagler, The Medieval Religious Stage (New Haven and London: Yale University Press, 1976), p. xi. Page 18 23. Vera Mowbray Roberts, On Stage: A History of the Theatre, 2nd ed.