The Dubious Spectacle: Extremities of Theater, 1976-2000U of Minnesota Press, 01/01/2002 - 347 من الصفحات Spanning a quarter of a century, the essays in this book rehearse, in the movement of memory and cross-reflection, an extensive career in theater. The work of Herbert Blau--his directing, writing, and criticism--has been a determining force during this period as theater encounters theory. |
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الصفحة xv
... comes earlier in the book, however, because I felt the need—after rehearsing the condition of the American theater, with incidental thoughts about acting and alternative theater—to give something more than an allusive sense of what ...
... comes earlier in the book, however, because I felt the need—after rehearsing the condition of the American theater, with incidental thoughts about acting and alternative theater—to give something more than an allusive sense of what ...
الصفحة xvii
... comes soon after Elsinore. “A Valediction: Chills and Fever, Mourning, and the Vanities of the Sublime” is a self ... come to believe. If art can no longer be thought autonomous in the strict formalist sense, it can do without the ...
... comes soon after Elsinore. “A Valediction: Chills and Fever, Mourning, and the Vanities of the Sublime” is a self ... come to believe. If art can no longer be thought autonomous in the strict formalist sense, it can do without the ...
الصفحة xviii
Extremities of Theater, 1976-2000 Herbert Blau. that may come to awareness in the process of making art. Or, with the shock of recognition, amidst the flux of historical forces out of which art is made. Or, in valediction, a “devastation ...
Extremities of Theater, 1976-2000 Herbert Blau. that may come to awareness in the process of making art. Or, with the shock of recognition, amidst the flux of historical forces out of which art is made. Or, in valediction, a “devastation ...
الصفحة 2
... come to be, with how it materializes to begin with from whatever it is it is not. That there is something other than theater, prior to it, by whatever name—life, reality, manifestations of so- cial process or relations of production—is ...
... come to be, with how it materializes to begin with from whatever it is it is not. That there is something other than theater, prior to it, by whatever name—life, reality, manifestations of so- cial process or relations of production—is ...
الصفحة 8
... come up with an answer—“When the French can no longer find their identity in a social class, in a religion, a profession, a generation, or the amount of money they make, what is left for them to identify with?” (Herald Tribune, 4). They ...
... come up with an answer—“When the French can no longer find their identity in a social class, in a religion, a profession, a generation, or the amount of money they make, what is left for them to identify with?” (Herald Tribune, 4). They ...
المحتوى
1 | |
2 The Impossible Takes a Little Time | 18 |
3 Spacing Out in the American Theater | 37 |
Rehearsing the Resistance | 53 |
5 A Dove in My Chimney | 62 |
An Analytic Scenario | 70 |
The Grail of the Voice | 118 |
Chills and Fever Mourning and the Vanities of the Sublime | 132 |
13 Readymade Desire | 199 |
From Tango Palace to Mud | 206 |
The Group Idea and Its Legacy | 215 |
New Music and Theater | 230 |
17 FlatOut Vision | 246 |
Sovereign Pleasure and the Baroque Subject in the Tragicomedies of John Fletcher | 265 |
Revising the Abyss | 281 |
The Insane Root | 307 |
9 The Dubious Spectacle of Collective Identity | 137 |
Subtext of a Syllabus for the Arts in America | 157 |
Educating the American Theater | 181 |
12 The Pipe Dreams of ONeill in the Age of Deconstruction | 189 |
Notes | 321 |
Previous Publications | 335 |
Index | 337 |
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