schools; after serving in the military, he earned MA
and PhD degrees at the University of Illinois, Urbana. As a theatre professor he has taught at: Southern
Illinois University, Edwardsville; Illinois State
University (where he was the founding chair of the
theatre department and the founding artistic director
of the Illinois Shakespeare Festival); the University
of Missouri-Kansas City (department chair), he has
taught at the California Institute of the Arts and
since 1994 he has taught in the California State
Summer School for the Arts.
Scott Walters was Assistant to the Dean of the College of Fine Arts at Illinois State University, where he also taught in the Theatre Department. He was Chair of the Drama Dept. at the University of North Carolina at Asheville, and currently is the Program Director of the
Arts and Ideas Program there, where he also teaches in the Drama Department.
INTRODUCTION: THE WHY AND WHAT OF PLAY ANALYSISWhy Analyze a Play? What Is Analysis? Reading at Multiple Levels The Influence of Aristotle, Stanislavsky, and OthersLEVEL ONE: FIRST IMPRESSIONSCHAPTER 1: THE FIRST READINGPlay Analysis Leads to "Doing"Techniques for a First ReadingA Structural Concept of Comedy and TragedyA First Reading of The Glass MenagerieQuestions for a First Reading of Any PlayLEVEL TWO: GATHERING INFORMATIONCHAPTER 2: GIVEN CIRCUMSTANCESGiven Circumstances: Stated and ImpliedAccuracy and Given CircumstancesResearch SourcesBackstory: Events and Relationships That Precede the PlaySetting: The Play’s When and WhereSocial Systems That Affect the CharactersCultural NormsPlays in TranslationPlays in Fantastical SettingsPlays Emphasize Different Given CircumstancesGathering Information on Given Circumstances in The Glass MenagerieQuestions about Given Circumstances in Any PlayGiven Circumstance Index CardsCHAPTER 3: THEATRICAL CONTRACTContracts vs. ConventionsPresentational and Representational ContractsRealistic and Nonrealistic ContractsThe Theatrical Contract in The Glass MenagerieQuestions about the Theatrical Contract of Any PlayLEVEL THREE: INTERPRETATIONCHAPTER 4: CHARACTERAspects of CharactersStage Directions as Character InformationLanguage Informs Us about CharacterDialogue Suggests Characters' Physical ActionsLanguage Reveals Characters' Thought ProcessesCharacters Evoke Conflict, and Conflict Reveals CharacterCharacter in The Glass MenagerieQuestions About Character in Any PlayCHAPTER 5: CONFLICTConcepts in Conflict AnalysisProcesses for Determining the ConflictConflict in The Glass MenagerieQuestions about the Conflict Resolution Structure in Any PlayCHAPTER 6: CONFLICT ANALYSIS APPLIED TO A SCENEThe Scene as a Unit of ConflictConflict Analysis Applied to Scene 2 of The Glass MenagerieConflict in Scene 2 of The Glass MenagerieSmaller Units: Actions and BeatsActions and Beats in The Glass MenagerieQuestions about the Conflict-Resolution Structure in Any SceneCHAPTER 7: SUPPLEMENTAL RESEARCHTypes of Supplemental ResearchSummaryLEVEL FOUR: BRINGING IT TOGETHERCHAPTER 8: SYNTHESISConflict versus ThemeRelating Other Elements to ConflictQuestions about Synthesis in The Glass MenagerieTesting and Enriching Our Analysis through Outside ResourcesConclusionQuestions about Synthesis in any PlayAPPENDIX: ANALYZING SHAKESPEARE'S HAMLETThe Text of HamletThe First ReadingGiven CircumstancesTheatrical ContractCharacter, Language, and Thought ProcessConflict AnalysisSupplemental ResearchSynthesisHow to Set Hamlet? APPENDIX 2: CHARACTER MAPS