| Disc: 1 |
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| History of Theatre | |
| 1 |
Prologue |
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| 2 |
The Greek Drama |
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| 3 |
Greek Tragedy |
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| 4 |
Greek Theatres |
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| 5 |
Oedipus: 'Torment, Torment...' |
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| 6 |
Greek Acting |
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| 7 |
Greek Comedy |
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| 8 |
Kinesias: It's O, so long since you and I have kno |
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| 9 |
Roman Theatre |
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| 10 |
The Medieval Theatre: Its Origins |
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| 11 |
'1st. Voice: While the third lesson is being chant |
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| 12 |
Growth And Development Of Mystery Plays |
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| 13 |
'The effect associated with Heaven and Hell were v |
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| 14 |
'God: Ego sum Alpha et Omega, vita, via, Veritas, |
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| 15 |
Development Of Miracle And Morality Plays |
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| 16 |
The Italian Commedia Dell'Arte |
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| 17 |
The Elizabethan Theatre |
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| 18 |
The Structure Of A Playhouse - Description Of Burb |
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| 19 |
'...Think when we talk of horses that you see them |
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| 20 |
An Attack On The Theatre By John Stockwood 1587 |
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| 21 |
Christopher Marlowe And His Contemporaries |
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| 22 |
Tamburlaine: 'Forsake thy King, and do but join wi |
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| Disc: 2 |
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| History of Theatre | |
| 1 |
Faustus: 'The stars move still, time runs, the clo |
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| 2 |
William Shakespeare (1546-1616) And His Plays |
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| 3 |
Excerpts From Shakespeare's Plays: As You Like It |
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| 4 |
The Jacobean Theatre (1603-1642) |
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| 5 |
Duchess: 'Now what you please, What death? Bosola: |
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| 6 |
Development Of The Private Theatre - Description O |
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| 7 |
Ben Jonson (1572-1637) |
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| 8 |
Ursula: Hang 'em, rotten, roguy cheaters, I hope t |
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| 9 |
Spanish Theatre In The Renaissance |
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| 10 |
Sigismund: 'The rich man dreams his riches, dreams |
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| 11 |
The French Theatre In The Seventeenth Century |
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| 12 |
Phedre: 'There love will always live. Even as I sp |
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| 13 |
The Structure Of French Theatres |
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| 14 |
Moliere (1622-1673) (Jean-Baptiste Poquelin) |
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| 15 |
Mr Jordan: ...And now I must tell you a secret. I' |
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| 16 |
Elmire: What? is there no avoiding your pursuit. W |
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| 17 |
The English Restoration Theatre (1660-1700) |
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| 18 |
Thomas Jordan's Prologue to The Moor Of Venice (16 |
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| 19 |
The Development Of Restoration Comedy |
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| 20 |
Harriet: 'I was informed you used to laugh at love |
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| 21 |
Lord Foppington: ...my life, madam, is a perpetual |
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| 22 |
Mrs. Pinchwife: 'Dear Sweet Mr. Horner' ...So...' |
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| 23 |
From A Short View Of The Immorality And Profanenes |
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| 24 |
Millamant: Positively, Mirabell, I'll lie a-bed in |
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| 25 |
From The Diary Of Samuel Pepys (1667) |
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| 26 |
European Theatre In The Eighteenth Century |
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| Disc: 3 |
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| History of Theatre | |
| 1 |
German Theatre In The 18th Century |
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| 2 |
Elizabeth: Say then, what surety can be offer'd me |
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| 3 |
The English Theatre In The Early Eighteenth Centur |
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| 4 |
The Development Of English Pantomime |
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| 5 |
The Introduction Of The Theatre Licensing Act In E |
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| 6 |
David Garrick (1717-1779) And The English Theatre |
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| 7 |
Description Of Garrick As Abel Drugger In The Alch |
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| 8 |
The Programme Of An Eighteenth Century English The |
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| 9 |
An Eighteenth Century Audience |
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| 10 |
Sir Anthony: Why, Mrs. Malaprop, in moderation, no |
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| 11 |
Beaumarchais (1732-1799) And The French Theatre In |
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| 12 |
The Count: With your brains and character you coul |
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| 13 |
The Development Of The Theatre In America (1800-18 |
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| 14 |
Romantic Melodrama In Nineteenth Century Europe |
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| 15 |
The Development Of Farce |
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| 16 |
Henry Irving (1838-1905), And English Theatre In T |
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| 17 |
Description Of Irving In The Bells By Edward Gordo |
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| 18 |
The Biginning Of The Theatre Of Ideas And Realism |
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| 19 |
Henrik Ibsen (1828-1906) |
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| 20 |
Helmer: To forsake your home, your husband, and yo |
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| 21 |
George Bernard Shaw |
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| 22 |
Higgins: Say your alphabet Liza: I know my alphabe |
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| 23 |
Anton Chekhov (1860-1904) |
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| Disc: 4 |
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| History of Theatre | |
| 1 |
The Seagull By Anton Chekhov |
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| 2 |
Nina: The horses are waiting for me at the gate. D |
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| 3 |
Stanislavsky And The Moscow Arts Theatre |
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| 4 |
From The Writings Of Stanislavsky |
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| 5 |
The Growth Of Ensemble Companies |
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| 6 |
Lady Bracknell: ...Now to minor matters. Are your |
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| 7 |
Theatrical Experiments In The Early Twentieth Cent |
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| 8 |
The Theatre Of Luigi Pirandello (1867-1936) |
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| 9 |
The Political Theatre Of Bertolt Brecht (1898-1956 |
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| 10 |
American Theatre In The Early Twentieth Century An |
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| 11 |
A Long Day's Journey Into Night (Act IV) |
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| 12 |
European Theatre In The 1930s & 1940s; Federico Ga |
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| 13 |
The London Theatre, And Noel Coward (1899-1973) |
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| 14 |
Amanda: We won't talk about ourselves any more, we |
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| 15 |
Post-War British Theatre And John Osborne (1929-19 |
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| 16 |
Alison: (softly) All I want is a little peace Jim |
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| 17 |
Theatre Of The Absurd And Samuel Beckett (1906-198 |
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| 18 |
Vladimir: 9sententiously) To every man his little |
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| 19 |
Harold Pinter (1930- ) |
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| 20 |
Aston: I...I think it's about time you found somew |
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| 21 |
British Theatre In The 1960s And Joe Orton (1933-1 |
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| 22 |
Post-War American Theatre, Tennessee Williams (191 |
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| 23 |
Willy: '...When I was a boy - eighteen, nineteen - |
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| 24 |
Blanche: 'When I think of how divine it is going t |
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| 25 |
Experimental Theatre In The 1960s And 1970s |
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| 26 |
Developments In The Theatre From 1970-1990 |
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| 27 |
Epilogue |
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