P

Paid on Both Sides (Auden), 120

Pankhurst, Christabel, 45

Panopticon, 21

Pantomime, 17 , 121 , 174 -81;

audience in, 175 -77

Paradise Now (Living Theater), 160

Participatory theater, 9 , 160 -61

Pastiche, 164

Performance art, 9

Performance Group, 164 ;

Dionysus in 69 , 160

Perspective:

in film, 190 -91;

in poetic theater, 117 ;

in realistic theater, 78 , 117 , 190 -91.

See also Realism in theater: staging of

Peter, John, 4 n.4

Peter Pan (Barrie), 178

Peters, Margot, 45 n

Photography, 12 -13, 27 , 124 n.14, 194 , 196 , 200 ;

and rhetoric of theater, 202 -03.

See also Realism in theater: and photography

The Picture of Dorian Gray (Wilde), 1

Pinero, Arthur Wing, 26 -42, 76 ;

The Second Mrs Tanqueray , 23 , 24n, 28 , 29 -30, 36 -42, 44 n, 45

Pinter, Harold, 6 , 29 , 55 , 82 , 83 -86, 87 , 102 , 183 ;

Betrayal , 83 , 85 ;

The Birthday Party , 81 , 83 ;

The Caretaker , 83 -84;

The Dumb Waiter , 83 ;

The Homecoming , 5 -

6, 83 , 84 -85, 96 , 98 ;

Mountain Language , 82 n;

Old Times , 83 , 85 ;

One for the Road , 82 n;

The Room , 83

Play (Beckett), 135 -37, 138 , 139 -40, 141 , 142

A Play of Giants (Soyinka), 195

Plenty (Hare), 158

Poetic drama, 13 . See also Poetic theater: and poetic drama; poetry in

Poetic theater, 5 , 7 , 10 , 99 -142, 203 ;

acting in, 101 , 102 , 103 -06, 109 , 110 , 113 -15, 116 , 119 , 126 -27, 128 , 133 , 136 -37, 138 ;

and actorless theater, 103 ;

antibourgeois, 107 ;

aristocratic, 103 , 107 ;

and audience, 7 , 100 , 102 , 103 , 106 -08, 111 , 114 , 117 -19, 121 -25, 128 -31, 133 , 140 -42;

authority of the text in 7, 101 , 108 , 110 , 119 , 131 , 132 , 133 , 136 , 137 , 140 , 142 ;

the body in, 103 , 105 , 119 , 132 , 133 , 135 , 140 , 141 , 142 ;

"character" in drama, 112 , 125 ;

"character" in performance, 113 , 115 , 125 , 127 ;

and dada performance, 103 ;

and dance, 105 -06, 109 , 110 , 115 -17, 119 ;

defined, 100 -01;

as depersonalizing, 7 , 108 , 136 , 138 ;

and expressionism, 103 ;

function of the text in production of, 100 , 102 , 103 , 107 , 109 , 118 , 121 , 124 , 126 , 132 , 135 ;

ideology of, 132 ;

marionettes and puppets in, 103 -05, 106 , 108 , 113 , 114 , 124 , 137 ;

masks in, 111 -12, 113 -14, 124 n.13;

movement in, 109 -10, 114 -15;

and music hall, 99 -100, 102 -03, 120 , 122 , 123 ;

and Noh theater, 109 , 110 , 112 , 124 n.13;

and pantomime, 121 ;

and poetic drama, 7 , 99 , 100 -02, 109 , 118 -19, 120 , 124 , 130 -31;

poetry in, 101 , 109 , 118 , 122 -23, 125 , 132 -33, 137 ;

and political theater, 131 ;

and popular theater, 99 -100, 120 -21, 123 -24;

and the postmodern, 142 ;

power relations in, 134 , 135 ;

prose and verse in, 122 , 127 , 128 -29;

and realism, 100 -01, 106 -08, 109 , 110 , 113 , 114 , 117 , 120 , 126 , 127 , 128 , 131 ;

and realistic acting, 104 , 113 , 114 ;

and ritual, 109 , 118 , 119 , 123 , 125 n;

song in, 110 , 111 -13, 115 , 117 , 119 ;

speech in, 101 , 108 , 109 -10, 112 -13, 115 , 116 , 117 , 119 , 125 , 137 ;

staging of (mise-en-scène), 110 ;

and surrealist theater, 103 ;

and symboliste theater, 111 , 133 ;

and torture, 133 -34, 138 -39, 142

Political phases of theater, 148

Political theater, 5 , 7 -8, 10 , 143 -93, 203 ;

acting in, 159 -61, 184 ;

and audience, 7 -8, 146 -48, 149 -52, 155 , 158 , 166 -67, 168 , 170 , 172 -73, 178 , 180 , 191 -93;

audience and history in, 159 -64, 170 -81;

the body in, 184 ;

Brechtian style of, 154 , 154 n, 165 , 169 ;

Brecht on, 148 -52;

Brecht's influence on British and American theater, 7 -8, 152 -55;

"character" in drama, 150 ;

"character" in performance, 149 -50, 160 , 161 , 184 ;

and class, 156 -57;

comic conventions in, 170 ;

and cross-cultural exchange, 196 ;

cross-playing in, 183 -85;

defined, 146 -47;

and feminist theater, 157 , 181 -83;

and film, 161 , 162 -63;

and gendered audience of realism, 188 -93;

gender in, 8 , 157 , 181 -93;

genre in, 8 , 157 , 169 -81;

and historical drama, 8 , 157 , 158 -69;

history and class in, 167 -68;

as ideological process, 146 -47, 156 ;

and music hall, 155 -57;

and pantomime, 174 -81;

and participatory theater, 160 -61;

pleasure and/or instruction in, 152 -55, 166 , 181 ;

and poetic theater, 131 ;

and politics of drama, 146 ;

and politics of performance, 180 -81, 186 -87;

and "poor theater," 164 ;

and popular theater, 183 ;

and the postmodern, 164 ;

and power relations, 165 ;

race and performance, 184 ;

and realism, 21 , 146 -51, 152 , 155 , 157 , 161 , 170 , 191 ;

and realistic visibility, 191 -93;

sexuality and performance, 185 -86;

as social process, 147 , 150 , 168 , 184 ;

staging of (mise-en-scène), 187 ;

and television, 161 .

See also Brecht, Bertolt; Feminist theater

"Poor theater," 82 , 164

The Pope's Wedding (Bond), 91 -92

Poppy (Nichols), 169 , 173 -81

Pornography, 38 , 142 , 200

Portable Theatre, 10 , 158

Porter, Cole, 122

Postlewait, Thomas, 46 n

Pound, Ezra, 109 , 124 n.13

Pravda (Brenton and Hare), 158

Pre-Raphaelite decoration, 111

Privacy. See Realism in theater: privacy and power in

Private moment (in Method acting), 63 n

The Producers (film), 170

Proscenium, 5 , 17 , 94 , 98 . See also Realism in theater: staging of

Provincetown Players, 19

Public solitude (in Method acting), 58 , 63 n, 65

Puppets. See Marionettes and puppets; Poetic theater: marionettes and puppets in

Puss-in-Boots (pantomime), 175