Provides a comparative approach to the internationally wide-spread phenomenon of the contemporary director-auteur in the theatre, urging a historical and theoretical exploration of
the visions, methods, and stage idioms in the work of established artists. Sidiropoulou examines prominent examples of both older and more recent director-auteur work, aiming at
re-asserting ��to its artistic and academic audience ��the value of balancing the established emphasis on the diegetic aspects of theatre with the ever-spreading varieties of dramatic
de-��entering��and ��is-semination.��This exciting work also poses questions of authorship, which necessarily imply the redefinition of the relationship between ��laywright��and the
director-playwright.
