For centuries, theater has maintained a central role in the development and preservation of artistic, social, and political themes in society. Yet in recent decades, theater has taken an increasingly marginal role. In this book, Thomas R. Whitaker examines the reasons for the marginalization of this important and influential art form, considering not only histories of various dramatic forms, but also the individual histories of various playwrights and their times. In so doing, he explores the importance of perceiving drama in a different light: as a participatory tool, a mirror that reflects life as it unfolds and plays out before us. Whitaker's unique and comprehensive study of drama poses theater as a collaborative and interactive experience, an experience that involves not only the playwright, the text, and the artists, but the audience as well as the society and culture of that audience.Contrary to the common critical belief that drama can only be theorized as a “performed action,” Whitaker conceptualizes drama as an interaction between a “performed action” and an “action of performance.” The whole of Mirrors of Our Playing is founded on the understanding that a play is a manifold mirror of the “playing” that is our lives; therefore, the play is shaped by a complex interaction between the paradigms that make up our view of the world and the reflection of these paradigms in the “mirror” that is the play.Focusing on both scripts and performance, Mirrors of Our Playing takes a fresh look at modern English-speaking drama, from its Anglo-Irish beginnings to its contemporary cross-fertilizations and international dispersals. It shows how most important English-speaking theater has been shaped in accord with several major paradigms, while it examines four major presences in that theater: Lord Byron, Samuel Beckett, Wole Soyinka, and Peter Brook. Mirrors of Our Playing stands on the borderlands between text-oriented and performanceoriented criticism. It seeks to extend our knowledge of the history of modern drama in English as that drama has engaged certain paradigms of performance. It is therefore grounded in close textual analysis of a great many texts that are understood as scripts for performance. Its several chapters incorporate, as they proceed, a variety of subordinate strategies: the placing of theater in historical context, the comparison of closely related plays, the charting of historical sequences of development within a given genre or paradigm, examination of the influence of a historical figure or of contemporary works, and the tracing of the exploratory development of a major director.