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Tables of Contents for The Theatrical Critic As Cultural Agent
Chapter/Section Title
Page #
Page Count
Introduction. The Absurd as Cultural Phenomenon
1
8
Absurd Beginnings
9
12
Esslin's Contribution: Constructing and Promoting the Theatre of the Absurd
9
7
The Initial London Reception of Beckett's and Ionesco's Plays
16
5
Usages of the Absurd Construct: The Pinteresque
21
22
Pinter's Acceptance Process
21
11
The First Phase---The Rejection
21
2
The Second Phase---The Transition
23
4
The Critical Reception of Pinter's Plays Outside of Britain
27
3
The Third Phase---The Acceptance
30
2
The Pinter Package of Attributes
32
11
Introducing Orton
43
24
Orton's Acceptance Process
43
19
The First Stage---A Pinter Epigone
43
15
The Second Stage---A Rebel
58
4
The Orton Myth
62
1
Orton and the ``Absurd''
63
4
Stoppard, The Story of Canonization
67
28
Stoppard's Acceptance Process
67
19
Stoppard's Reception: Tynan's Role
67
4
RSC Shakespeare
71
7
Stoppard's Familiar/Unique Blend
78
2
Stoppard's Second Phase---The Transition
80
3
Stoppard's Third Phase---The Acceptance
83
3
Stoppard and the ``Absurd,'' a Culminating ``Episode''
86
9
Critical Strategies: Theoretical Conclusions
95
12
Comparison
97
2
Forecasting
99
1
Name-giving
100
1
Formation of the Attributes Package
101
3
Construction of a Group
104
1
Minor Strategies
104
3
Reconstructing Theatre History, The Case of the British Absurd: Historical Conclusion
107
14
History as Construct
107
6
Reconstructing Theatre History
113
6
The Case of Exiles
114
5
A Concluding Note
119
2
Bibliography
121
14
Notes
135
18
Index
153