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The Cambridge Introduction to Theatre Directing ed. by Christopher Innes and Maria Shevtsova (review)

The opening chapters, set historically, seem all too predictable when compared with other like introductory texts still in print: the birth of modern European art theatre directing as opposed to the tradition of actor-managers in the AngloAmerican theatre. We hear yet again about the changes wrought by the Duke of Saxe Meiningen and his Players, which sound less innovatory with each retelling. We get yet another recounting of the contrasts between naturalism, realism, and symbolism. The opening chapters are the obligatory ones, straight out of the many academic theatre history books, which all say pretty much the same things.