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Routledge Companions
The Routledge Companion to Theatre and Performance
What is theatre? What is performance? What are their connections and differences? What events, people, practices and ideas have shaped theatre and performance in the twentieth century, and, importantly, where are they heading next? Proposing answers to these big questions, The Routledge Companion to Theatre and Performance provides an informative and engaging introduction to the significant people, events, concepts and practices that have defined the complementary fields of theatre and performance studies. Including over 120 entries in three easy-to-use, alphabetical sections, this fascinating text presents a wide range of individuals and topics, such With each entry containing crucial historical and contextual information, extensive cross-referencing, detailed analysis, and an annotated bibliography, The Routledge Companion to Theatre and Performance is undoubtedly a perfect reference guide for the keen student and the passionate theatre-goer alike.
256 pages, Paperback
First published November 3, 2005
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About the author
Paul Allain
22 booksPaul Allain is Professor of Theatre and Performance at the University of Kent, Canterbury. He was nominated for the Times Higher Education Award in Excellence and Innovation in the Arts 2010.
He collaborated with the Gardzienice Theatre Association from 1989 to 1993 and published the book Gardzienice: Polish Theatre in Transition (1997). He co-edited the Cambridge Companion to Chekhov (2000) and his book The Art of Stillness: The Theatre Practice of Tadashi Suzuki was published by Methuen (2002; second revised and expanded edition with DVD 2009) and Palgrave Macmillan, USA (2003). Routledge published his Companion to Theatre and Performance, co-written with Jen Harvie in 2006.
He has since published several edited collections on Grotowski as part of the British Grotowski project.
Most recently he has hosted Professor Richard Schechner at Kent for a Leverhulme Visiting Professorship, and has in 2012 published Andrei Droznin's Physical Actor Training with Routledge, a DVD/booklet. He has contributed extensively to the Routledge Digital Performance Archive.
He collaborated with the Gardzienice Theatre Association from 1989 to 1993 and published the book Gardzienice: Polish Theatre in Transition (1997). He co-edited the Cambridge Companion to Chekhov (2000) and his book The Art of Stillness: The Theatre Practice of Tadashi Suzuki was published by Methuen (2002; second revised and expanded edition with DVD 2009) and Palgrave Macmillan, USA (2003). Routledge published his Companion to Theatre and Performance, co-written with Jen Harvie in 2006.
He has since published several edited collections on Grotowski as part of the British Grotowski project.
Most recently he has hosted Professor Richard Schechner at Kent for a Leverhulme Visiting Professorship, and has in 2012 published Andrei Droznin's Physical Actor Training with Routledge, a DVD/booklet. He has contributed extensively to the Routledge Digital Performance Archive.
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Displaying 1 - 4 of 4 reviews
May 12, 2021
4/5: A trustworthy companion for the actor, a treat for the theatre geek, a carefully composed introduction for the university student, and pretty much useless for the hardcore academic.
I have the second edition (2014, with the lovely Francis McDormand and Kate Valk on the cover). I can't speak as to the first edition, I have no idea if it's been radically revised or if things have been taken out or added in. But as for the 2014 edition, it is broken down into three major sections excluding the introduction.
The first part 'People and Companies' provides information on some of the greatest names out there who have helped shape theatre as we know it today, for example, Artaud, Meyerhold, Stanislavski, etc. The second part 'Events' contextualizes plays in terms of what was happening in the world at the time of their publication and production or vice versa, it gives you an account of events that influenced or were the main focus of plays, events like the Arab Spring or the Olympics. The third and final part 'Concepts and Practices' (which is the one I've been consulting the most) summarizes the definition, origins, and impact of concepts and practices relating to theatre. It also contextualizes them historically and socially. What is most interesting about this part is that you don't just find standard, well-known concepts like dramaturgy, puppetry, theatre of the absurd, directing, and such. You encounter concepts that don't seem very relevant to theatre practice such as psychoanalysis, historiography, or carnival. But if you give them a read you will realize that they actually are, more than you think. At the end of each entry, because this does read a little bit like a dictionary, you will find suggestions for further reading. Once or twice, I have consulted the bibliography and I have to say it's very informative. This is sort of the next step after you're done with this book.
The writing style is succinct, stays away from the high and mighty language academic texts are notorious for, and does not come across as preachy or intimidating. Overall, it feels like the authors really want you to understand the concepts and are more interested to inform than play smart. I was grateful for that because, personally, I cannot get through dense texts without aspirin and if I can avoid it I don't go anywhere near them ;). This companion does exactly what it advertises, 'it provides an accessible, informative and engaging introduction' and it has to be appreciated as such. It is an inclusive yet not an exhaustive guide.
Who can benefit from this? It is a great companion for the actor who wants to do research on a play or its social, political, historical context or the drama student who wants to have some background information but doesn't want to get into too complicated texts. Theatre geeks and theatre-goers can also greatly benefit from this book. Say you read or see a play full of second-wave feminism references and it's a total product of its time and you don't understand anything. A quick look through the companion has you covered. It is also great for university students studying theatre, literature, or the history of theatre, and performance. This book is the perfect starting point. You might not find all you need but it will make the rest of your research easier. Now, as for very experienced academics or people who specialize in the theoretical aspects of theatre and performance I suggest you skip it. It is not saying anything you've not already heard of.
That is not a bad thing of course and it is definitely not the reason why it's 4/5 stars. It is 4/5 stars because while reading up on certain concepts, like feminism in theatre or post-dramatic theatre, I felt like there was room for a bit more information even though there is a great selection of texts referenced underneath that you can consult. Just a bit more information would have made the entries more balanced. But, generally, I've been using this companion as a reference guide for the past two years and it has not let me down. I have read most of it and while, at first, I would just use it as a starting point for my research I now find it generally intriguing on top of informative.
Give it a go. It's good stuff ;)
I have the second edition (2014, with the lovely Francis McDormand and Kate Valk on the cover). I can't speak as to the first edition, I have no idea if it's been radically revised or if things have been taken out or added in. But as for the 2014 edition, it is broken down into three major sections excluding the introduction.
The first part 'People and Companies' provides information on some of the greatest names out there who have helped shape theatre as we know it today, for example, Artaud, Meyerhold, Stanislavski, etc. The second part 'Events' contextualizes plays in terms of what was happening in the world at the time of their publication and production or vice versa, it gives you an account of events that influenced or were the main focus of plays, events like the Arab Spring or the Olympics. The third and final part 'Concepts and Practices' (which is the one I've been consulting the most) summarizes the definition, origins, and impact of concepts and practices relating to theatre. It also contextualizes them historically and socially. What is most interesting about this part is that you don't just find standard, well-known concepts like dramaturgy, puppetry, theatre of the absurd, directing, and such. You encounter concepts that don't seem very relevant to theatre practice such as psychoanalysis, historiography, or carnival. But if you give them a read you will realize that they actually are, more than you think. At the end of each entry, because this does read a little bit like a dictionary, you will find suggestions for further reading. Once or twice, I have consulted the bibliography and I have to say it's very informative. This is sort of the next step after you're done with this book.
The writing style is succinct, stays away from the high and mighty language academic texts are notorious for, and does not come across as preachy or intimidating. Overall, it feels like the authors really want you to understand the concepts and are more interested to inform than play smart. I was grateful for that because, personally, I cannot get through dense texts without aspirin and if I can avoid it I don't go anywhere near them ;). This companion does exactly what it advertises, 'it provides an accessible, informative and engaging introduction' and it has to be appreciated as such. It is an inclusive yet not an exhaustive guide.
Who can benefit from this? It is a great companion for the actor who wants to do research on a play or its social, political, historical context or the drama student who wants to have some background information but doesn't want to get into too complicated texts. Theatre geeks and theatre-goers can also greatly benefit from this book. Say you read or see a play full of second-wave feminism references and it's a total product of its time and you don't understand anything. A quick look through the companion has you covered. It is also great for university students studying theatre, literature, or the history of theatre, and performance. This book is the perfect starting point. You might not find all you need but it will make the rest of your research easier. Now, as for very experienced academics or people who specialize in the theoretical aspects of theatre and performance I suggest you skip it. It is not saying anything you've not already heard of.
That is not a bad thing of course and it is definitely not the reason why it's 4/5 stars. It is 4/5 stars because while reading up on certain concepts, like feminism in theatre or post-dramatic theatre, I felt like there was room for a bit more information even though there is a great selection of texts referenced underneath that you can consult. Just a bit more information would have made the entries more balanced. But, generally, I've been using this companion as a reference guide for the past two years and it has not let me down. I have read most of it and while, at first, I would just use it as a starting point for my research I now find it generally intriguing on top of informative.
Give it a go. It's good stuff ;)
This entire review has been hidden because of spoilers.
November 7, 2025
this book carried me through my drama classes
August 28, 2021
A theatre and performance must read !
May 4, 2023
I read this cover to cover before starting a drama degree. It’s really more of a reference book, meant to dip in and out of, but it was very informative and provided a useful springboard into subjects I ended up studying more broadly.
Displaying 1 - 4 of 4 reviews