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  <id>269998</id>
  <name><![CDATA[Graham Ley]]></name>
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        <book>
  <id type="integer">1671700</id>
  <isbn>0333775414</isbn>
  <isbn13>9780333775417</isbn13>
  <text_reviews_count type="integer">0</text_reviews_count>
  <title>
    <![CDATA[Modern Theories of Performance: From Stanislavski to Boal]]>
  </title>
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  <link>http://www.goodreads.com/book/show/1671700.Modern_Theories_of_Performance_From_Stanislavski_to_Boal</link>
  <average_rating>3.20</average_rating>
  <ratings_count>5</ratings_count>
  <description>
    <![CDATA[&lt;div&gt;The modern era in the theatre is notable for the influential role of theoretical practitioners whose writings have shaped a sense of the possibilities of performance. This book is a critical exploration of the theoretical writings of key modern theorists from Stanlislavski to Boal. It offers not only a summary of these theories but a critical commentary on their composition as discourses.<br/>&lt;/div&gt;]]>
  </description>
<authors>
    <author>
    <id>269999</id>
        <name><![CDATA[Jane Milling]]></name>
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    <link><![CDATA[http://www.goodreads.com/author/show/269999.Jane_Milling]]></link>
    <average_rating>3.00</average_rating>
    <ratings_count>8</ratings_count>
    <text_reviews_count>1</text_reviews_count>
  </author>
    <author>
    <id>269998</id>
        <name><![CDATA[Graham Ley]]></name>
    <image_url><![CDATA[http://www.goodreads.com/images/nophoto/nophoto-U-200x266.jpg]]></image_url>
    <small_image_url><![CDATA[http://www.goodreads.com/images/nophoto/nophoto-U-50x66.jpg]]></small_image_url>
    <link><![CDATA[http://www.goodreads.com/author/show/269998.Graham_Ley]]></link>
    <average_rating>3.40</average_rating>
    <ratings_count>10</ratings_count>
    <text_reviews_count>1</text_reviews_count>
  </author>
  </authors>  <published>2001</published>
</book>

        <book>
  <id type="integer">1372413</id>
  <isbn>0226477606</isbn>
  <isbn13>9780226477602</isbn13>
  <text_reviews_count type="integer">1</text_reviews_count>
  <title>
    <![CDATA[A Short Introduction to the Ancient Greek Theatre]]>
  </title>
  <image_url>http://photo.goodreads.com/books/1183056732m/1372413.jpg</image_url>
  <small_image_url>http://photo.goodreads.com/books/1183056732s/1372413.jpg</small_image_url>
  <link>http://www.goodreads.com/book/show/1372413.A_Short_Introduction_to_the_Ancient_Greek_Theatre</link>
  <average_rating>3.33</average_rating>
  <ratings_count>3</ratings_count>
  <description>
    <![CDATA[&lt;div&gt;Contemporary productions on stage and film, and the development of theater studies, have created a new audience for ancient Greek drama. This volume fills the need for a clear, concise statement of what is known about the original conditions of production for tragedy, comedy, and satyr play in the age of Pericles and provides observations on all aspects of performance. <br/><br/>Reexamining the surviving plays of the tragic writers Aeschylus, Sophocles, and Euripides and of the comedian Aristophanes, Graham Ley discusses the actor's technique, the power and range of the chorus, the use of theatrical space, and parody in the plays. A series of diagrams relates the theater to the city and political life of ancient Athens, and photographic illustrations of scenes from Greek vases document the visualization of theatrical performance. <br/><br/>An ideal companion to <em>The Complete Greek Tragedies</em> (University of Chicago Press), Ley's work is a valuable user's guide to the critical assessment of modern translations and adaptations of tragedy and comedy. It is designed for all students of Greek drama with an interest in performance, and for theatrical practitioners who require a concise but informative introduction to one of the great periods of world drama. <br/>&lt;/div&gt;]]>
  </description>
<authors>
    <author>
    <id>269998</id>
        <name><![CDATA[Graham Ley]]></name>
    <image_url><![CDATA[http://www.goodreads.com/images/nophoto/nophoto-U-200x266.jpg]]></image_url>
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    <link><![CDATA[http://www.goodreads.com/author/show/269998.Graham_Ley]]></link>
    <average_rating>3.40</average_rating>
    <ratings_count>10</ratings_count>
    <text_reviews_count>1</text_reviews_count>
  </author>
  </authors>  <published>1991</published>
</book>

        <book>
  <id type="integer">3352307</id>
  <isbn>0226477614</isbn>
  <isbn13>9780226477619</isbn13>
  <text_reviews_count type="integer">0</text_reviews_count>
  <title>
    <![CDATA[A Short Introduction to the Ancient Greek Theater: Revised Edition]]>
  </title>
  <image_url>http://www.goodreads.com/images/nocover-111x148.jpg</image_url>
  <small_image_url>http://www.goodreads.com/images/nocover-60x80.jpg</small_image_url>
  <link>http://www.goodreads.com/book/show/3352307.A_Short_Introduction_to_the_Ancient_Greek_Theater_Revised_Edition</link>
  <average_rating>5.00</average_rating>
  <ratings_count>1</ratings_count>
  <description>
    <![CDATA[&lt;DIV&gt;Contemporary productions on stage and film, and the development of theater studies, continue to draw new audiences to ancient Greek drama. With observations on all aspects of performance, this volume fills their need for a clear, concise account of what is known about the original conditions of such productions in the age of Pericles. <br/><br/>Reexamining the surviving plays of Aeschylus, Sophocles, Euripides, and Aristophanes, Graham Ley here discusses acting technique, scenery, the power and range of the chorus, the use of theatrical space, and parody in their plays. In addition to photos of scenes from Greek vases that document theatrical performance, this new edition includes notes on ancient mime and puppetry and how to read Greek playtexts as scripts, as well as an updated bibliography. An ideal companion to <em>The Complete Greek Tragedies</em>, also published by the University of Chicago Press, Ley&#8217;s work is a concise and informative introduction to one of the great periods of world drama. <br/><br/>&quot;Anyone faced with Athenian tragedy or comedy for the first time, in or out of the classroom, would do well to start with <em>A Short Introduction to Ancient Greek Theater</em>.&quot;&#8212;<em>Didaskalia <br/><br/></em>&lt;/DIV&gt;]]>
  </description>
<authors>
    <author>
    <id>269998</id>
        <name><![CDATA[Graham Ley]]></name>
    <image_url><![CDATA[http://www.goodreads.com/images/nophoto/nophoto-U-200x266.jpg]]></image_url>
    <small_image_url><![CDATA[http://www.goodreads.com/images/nophoto/nophoto-U-50x66.jpg]]></small_image_url>
    <link><![CDATA[http://www.goodreads.com/author/show/269998.Graham_Ley]]></link>
    <average_rating>3.40</average_rating>
    <ratings_count>10</ratings_count>
    <text_reviews_count>1</text_reviews_count>
  </author>
  </authors>  <published>2007</published>
</book>

        <book>
  <id type="integer">680324</id>
  <isbn>0226477576</isbn>
  <isbn13>9780226477572</isbn13>
  <text_reviews_count type="integer">0</text_reviews_count>
  <title>
    <![CDATA[The Theatricality of Greek Tragedy: Playing Space and Chorus]]>
  </title>
  <image_url>http://photo.goodreads.com/books/1177096257m/680324.jpg</image_url>
  <small_image_url>http://photo.goodreads.com/books/1177096257s/680324.jpg</small_image_url>
  <link>http://www.goodreads.com/book/show/680324.The_Theatricality_of_Greek_Tragedy_Playing_Space_and_Chorus</link>
  <average_rating>3.00</average_rating>
  <ratings_count>1</ratings_count>
  <description>
    <![CDATA[&lt;div&gt;Ancient Greek tragedy has been an inspiration to Western culture, but the way it was first performed has long remained in question. In <em>The Theatricality of Greek Tragedy</em>, Graham Ley provides an illuminating discussion of key issues relating to the use of the playing space and the nature of the chorus, offering a distinctive impression of the performance of Greek tragedy in the fifth century BCE. <br/><br/>Drawing on evidence from the surviving texts of tragedies by Aeschylus, Sophocles, and Euripides, Ley explains how scenes with actors were played in the open ground of the orchestra, often considered as exclusively the dancing place of the chorus. In reviewing what is known of the music and dance of Greek antiquity, Ley goes on to show that in the original productions the experience of the chorus&#8212;expressed in song and dance and in interaction with the characters&#8212;remained a vital characteristic in the performance of tragedy. <br/>Combining detailed analysis with broader reflections about the nature of ancient Greek tragedy as an art form, this volume&#8212;supplemented with a series of illustrative drawings and diagrams&#8212;will be a necessary addition to the bookshelf of anyone interested in literature, theater, or classical studies. <br/><br/>&lt;/div&gt;]]>
  </description>
<authors>
    <author>
    <id>269998</id>
        <name><![CDATA[Graham Ley]]></name>
    <image_url><![CDATA[http://www.goodreads.com/images/nophoto/nophoto-U-200x266.jpg]]></image_url>
    <small_image_url><![CDATA[http://www.goodreads.com/images/nophoto/nophoto-U-50x66.jpg]]></small_image_url>
    <link><![CDATA[http://www.goodreads.com/author/show/269998.Graham_Ley]]></link>
    <average_rating>3.40</average_rating>
    <ratings_count>10</ratings_count>
    <text_reviews_count>1</text_reviews_count>
  </author>
  </authors>  <published>2007</published>
</book>

        <book>
  <id type="integer">6833780</id>
  <isbn>0859898326</isbn>
  <isbn13>9780859898324</isbn13>
  <text_reviews_count type="integer">0</text_reviews_count>
  <title>
    <![CDATA[British South Asian Theatres: A Documented History]]>
  </title>
  <image_url>http://www.goodreads.com/images/nocover-111x148.jpg</image_url>
  <small_image_url>http://www.goodreads.com/images/nocover-60x80.jpg</small_image_url>
  <link>http://www.goodreads.com/book/show/6833780-british-south-asian-theatres</link>
  <average_rating>0.0</average_rating>
  <ratings_count>0</ratings_count>
  <description>
    <![CDATA[British South Asian theatre has been one of the most significant features of diasporic artistic activity throughout the world in the last thirty years, but despite its remarkable achievements it has remained largely uncharted. This book aims to reverse that neglect. The book has its origins in a four-year research project at the University of Exeter that set out to document the presence of South Asians on the British stage, from magicians of the C19th through to the new generations of British theatre artists of South Asian extraction. The research has drawn on unpublished archives and an extensive series of interviews on the history of British Asian theatre-making. An accompanying DVD will provide an album of historical documents, programmes, designs, photographs, and clips from archival recordings of rehearsals and productions. The development of many British Asian-led companies of the last thirty years, including Tara Arts, Tamasha and Kali, is covered in detail in this title. See Contents on next page for full list of companies covered in detail in the book.]]>
  </description>
<authors>
    <author>
    <id>269998</id>
        <name><![CDATA[Graham Ley]]></name>
    <image_url><![CDATA[http://www.goodreads.com/images/nophoto/nophoto-U-200x266.jpg]]></image_url>
    <small_image_url><![CDATA[http://www.goodreads.com/images/nophoto/nophoto-U-50x66.jpg]]></small_image_url>
    <link><![CDATA[http://www.goodreads.com/author/show/269998.Graham_Ley]]></link>
    <average_rating>3.40</average_rating>
    <ratings_count>10</ratings_count>
    <text_reviews_count>1</text_reviews_count>
  </author>
    <author>
    <id>3065966</id>
        <name><![CDATA[Sarah Dadswell]]></name>
    <image_url><![CDATA[http://www.goodreads.com/images/nophoto/nophoto-U-200x266.jpg]]></image_url>
    <small_image_url><![CDATA[http://www.goodreads.com/images/nophoto/nophoto-U-50x66.jpg]]></small_image_url>
    <link><![CDATA[http://www.goodreads.com/author/show/3065966.Sarah_Dadswell]]></link>
    <average_rating>0.0</average_rating>
    <ratings_count>0</ratings_count>
    <text_reviews_count>0</text_reviews_count>
  </author>
  </authors>  <published>2010</published>
</book>

        <book>
  <id type="integer">1524494</id>
  <isbn>0859896404</isbn>
  <isbn13>9780859896405</isbn13>
  <text_reviews_count type="integer">0</text_reviews_count>
  <title>
    <![CDATA[From Mimesis to Interculturalism: Readings of Theatrical Theory Before and After `Modernism]]>
  </title>
  <image_url>http://photo.goodreads.com/books/1184709153m/1524494.jpg</image_url>
  <small_image_url>http://photo.goodreads.com/books/1184709153s/1524494.jpg</small_image_url>
  <link>http://www.goodreads.com/book/show/1524494.From_Mimesis_to_Interculturalism_Readings_of_Theatrical_Theory_Before_and_After_Modernism</link>
  <average_rating>0.0</average_rating>
  <ratings_count>0</ratings_count>
  <description>
    <![CDATA[&lt;div&gt;&lt;div&gt;<em>From Mimesis to Interculturalism</em> offers a series of critical readings of key texts in the history of European and American theatrical and performance theory. It answers the need for a detailed critique of theatrical theory from its origins in Greek antiquity to the present day, asking the reader to re-examine the basis of what have become assumptions, but are all too often perceived as truths. The book complements existing studies of the major modern theorists by giving close attention to the European tradition before Stanislavski, and to the theorists who have gained prominence after Grotowski. The use of language and the creation of meaning is the primary concern of all the readings.&lt;/div&gt;&lt;div&gt; &lt;/div&gt;&lt;div&gt;Part One considers classical and classicizing theorists from Greece and the European enlightenment, and Part Two twentieth-century theorists after Grotowski; a concluding Part Three indicates how the approach might be applied to exemplary theorists from the modern canon, and to certain contemporary theoretical proposals.&lt;/div&gt;&lt;/div&gt;]]>
  </description>
<authors>
    <author>
    <id>269998</id>
        <name><![CDATA[Graham Ley]]></name>
    <image_url><![CDATA[http://www.goodreads.com/images/nophoto/nophoto-U-200x266.jpg]]></image_url>
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    <link><![CDATA[http://www.goodreads.com/author/show/269998.Graham_Ley]]></link>
    <average_rating>3.40</average_rating>
    <ratings_count>10</ratings_count>
    <text_reviews_count>1</text_reviews_count>
  </author>
  </authors>  <published>2000</published>
</book>

        <book>
  <id type="integer">6493004</id>
  <isbn>1853263311</isbn>
  <isbn13 nil="true"></isbn13>
  <text_reviews_count type="integer">0</text_reviews_count>
  <title>
    <![CDATA[The Wordsworth Dictionary of Biography]]>
  </title>
  <image_url>http://photo.goodreads.com/books/1243206599m/6493004.jpg</image_url>
  <small_image_url>http://photo.goodreads.com/books/1243206599s/6493004.jpg</small_image_url>
  <link>http://www.goodreads.com/book/show/6493004-the-wordsworth-dictionary-of-biography</link>
  <average_rating>0.0</average_rating>
  <ratings_count>0</ratings_count>
  <description>
    <![CDATA[Further Contributors: Mike Pudlo, Ian Ridpath, Adrian Room, John Rowlinson, Jack Schofield, Mark Slade, Angela Smith, Imogen Stooke Wheeler, Glyn A Stone, Ingrid von Essen, Stephen Webster, Liz Whitelegg &amp; John Woodruff]]>
  </description>
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    <author>
    <id>56911</id>
        <name><![CDATA[David Armstrong]]></name>
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    <link><![CDATA[http://www.goodreads.com/author/show/56911.David_Armstrong]]></link>
    <average_rating>3.42</average_rating>
    <ratings_count>26</ratings_count>
    <text_reviews_count>5</text_reviews_count>
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    <author>
    <id>1920674</id>
        <name><![CDATA[Charles Kidd]]></name>
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    <link><![CDATA[http://www.goodreads.com/author/show/1920674.Charles_Kidd]]></link>
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    <author>
    <id>2940551</id>
        <name><![CDATA[Suzanne Duke]]></name>
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    <average_rating>0.0</average_rating>
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        <name><![CDATA[Jane Farron]]></name>
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    <author>
    <id>54552</id>
        <name><![CDATA[Malcolm Bradbury]]></name>
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    <link><![CDATA[http://www.goodreads.com/author/show/54552.Malcolm_Bradbury]]></link>
    <average_rating>3.67</average_rating>
    <ratings_count>326</ratings_count>
    <text_reviews_count>35</text_reviews_count>
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    <author>
    <id>2940553</id>
        <name><![CDATA[Brendan P Bradley]]></name>
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    <average_rating>0.0</average_rating>
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    <author>
    <id>85512</id>
        <name><![CDATA[Barbara Taylor]]></name>
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    <link><![CDATA[http://www.goodreads.com/author/show/85512.Barbara_Taylor]]></link>
    <average_rating>3.87</average_rating>
    <ratings_count>91</ratings_count>
    <text_reviews_count>34</text_reviews_count>
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    <author>
    <id>2940554</id>
        <name><![CDATA[Roy Brigsden]]></name>
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    <author>
    <id>42248</id>
        <name><![CDATA[Peter Fleming]]></name>
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    <link><![CDATA[http://www.goodreads.com/author/show/42248.Peter_Fleming]]></link>
    <average_rating>4.13</average_rating>
    <ratings_count>79</ratings_count>
    <text_reviews_count>17</text_reviews_count>
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    <author>
    <id>347054</id>
        <name><![CDATA[Stephen Kite]]></name>
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    <author>
    <id>784006</id>
        <name><![CDATA[David Cotton]]></name>
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    <link><![CDATA[http://www.goodreads.com/author/show/784006.David_Cotton]]></link>
    <average_rating>3.00</average_rating>
    <ratings_count>2</ratings_count>
    <text_reviews_count>0</text_reviews_count>
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    <author>
    <id>5490</id>
        <name><![CDATA[Peter Lafferty]]></name>
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