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6-10-2015, 14:26

The first port of call for anyone interested in the conditions of theatrical production (including actors and acting) in fifth-century Athens is still Pickard-Cambridge 1988, supplemented by Csapo and Slater 1995, several chapters of which are devoted to the actor’s art throughout antiquity (all ancient sources are cited in translation). Supremely illuminating is also J. R. Green 1994, who takes into account depictions of actors on a wide variety of Greek and Roman artifacts. For a meticulous collection of testimonia on individual theatrical performers in antiquity, see Stephanis 1988 (in Greek, but one can still follow the ancient sources). Those who read French can still benefit from Ghiron-Bistagne 1976, a sociological analysis (pioneering in its time) of the actor’s calling in ancient Greece, while for a new and fascinating exploration of several aspects of the acting profession in antiquity, see the collection of essays by Easterling and Hall 2002.

On Stanislavsky’s and Brecht’s theatrical practices there is, as can well be expected, a vast literature. My personal selection on Stanislavsky includes: Wiles 1980, 13-36; Jones 1986, 15-77; and Leiter 1991, 1-43; see also the very interesting contributions of Rapoport, Sudakov, Vakhtangov, and Giatsintova in Cole 1955. The best summary of the System can be found in Moore 1966; very informative is also Magarshack 1961. For Brecht’s ‘‘Epic’’ theater, the starting point of all preliminary reading should be Brecht 1964 and 1965; excellent discussions can be found in Willet 1977; Ben Chaim 1984, 25-38; Brooker 1988 and 1994; and Eddershaw 1982 and 1994. On Artaud and Grotowski there are excellent introductions in Wiles 1980 and Innes 1993; more advanced discussions may be found in Esslin 1976, Worthen 1984, and Wolford and Schechner 1997. English texts from the period of puritan anti-theatricality can be found in Chambers 1923, vol. 4, and now Wickham, Berry, and Ingram 2000.