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Published online by Cambridge University Press: 07 July 2009
In his essay in Theatre Research International “Creating Objects and Events,” Robert K. Sarlós cries in some anguish, “But does a production that reaches for…historic reconstruction deserve no scholarly attention at all unless or until it is recorded in (or accompanied by) a bulky tome?” His despair is comprehensible: the prospect of generating mounds of print material after completing a production is fatiguing to contemplate and daunting to attempt (indeed, lost in my own files are discarded drafts of such reportage on Giraldi Cinthio's Orbecche, an early attempt at a “performance essay”). However, the answer must be, unequivocally and despite fatigue, affirmative.
1 Sarlós, Robert K., “Creating Objects and Events: A Form of Theatre Research,” Theatre Research International, 5 (Winter 1979–1980), 83–88CrossRefGoogle Scholar.
2 Hitchman, Percy, “The Fairy Queen at Nottingham,” Theatre Notebook, 14 (1960), 92–99Google Scholar.
3 Starting points were provided by Golding, Alfred S., “A Baroque Theory of Acting and Playwriting as Symbolic Representation: Lang's ‘Essay on Stage Performance’ (1727),” Theatre Studies, 21 (1974–1975), 5–25Google Scholar, and the same author's “Presentational Acting and the Repertory Company,” Educational Theatre Journal, 20 (1968), 491–501Google Scholar.
4 Hourmouzios, Emile, “The Modern Interpretation of Attic Drama,” The Transactions of the International Conference on Theatre History, 1955, ed. Fletcher, Ifan Kyrle, Reading, Jack, and Rosenfeld, Sybil (London: Society for Theatre Research, 1957), p. 7Google Scholar.
5 Bristow, Eugene K., “Position Paper,” The Historiography of Theatre History, ed. Woods, Alan, suppl. to Theatre Studies, 21 (1974–1975), 13–14Google Scholar.
6 See, for example, Wynne, Shirley, “Reconstruction of a Dance from 1700,” Dance History Research: Perspectives from Related Arts and Disciplines, ed. Kealiinohomoku, Joann W. (New York: CORD, 1970), pp. 26–55Google Scholar.