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 x
... critique, that the system of representation on which the tradition depends had not only been demystified, first by Brecht, then deconstruction, but was in a state of virtual collapse. One has only to look, however, at the plaintive end ...
... critique, that the system of representation on which the tradition depends had not only been demystified, first by Brecht, then deconstruction, but was in a state of virtual collapse. One has only to look, however, at the plaintive end ...
الصفحة xi
... critique of dramatic form that became second nature in theory. What was at stake is tragic vision, now thought of as disempowering, but which at the perceptual limit haunts my previous books, and which for better or worse, at least in ...
... critique of dramatic form that became second nature in theory. What was at stake is tragic vision, now thought of as disempowering, but which at the perceptual limit haunts my previous books, and which for better or worse, at least in ...
الصفحة xx
... critique. If I avoided, for the most part, writing about American drama, there are belated essays here on O'Neill and Williams (I have written about Miller elsewhere), and another recently on Maria Irene Fornes, who was also utterly ...
... critique. If I avoided, for the most part, writing about American drama, there are belated essays here on O'Neill and Williams (I have written about Miller elsewhere), and another recently on Maria Irene Fornes, who was also utterly ...
الصفحة 6
... critique, particularly in the ideological assault on the paradoxes and tensions of modernist form, which, for all its antidrama, Godot still masterfully represents, along with the elegiac remnants of a “disempowering” nostalgia. What ...
... critique, particularly in the ideological assault on the paradoxes and tensions of modernist form, which, for all its antidrama, Godot still masterfully represents, along with the elegiac remnants of a “disempowering” nostalgia. What ...
الصفحة 9
... critique of the festival of Dionysus, the theater's foremost illusion. Why did we pursue it? Because it was impossible. This paradox might be further defined around the concept of the au- dience, which is not so much, for me, what ...
... critique of the festival of Dionysus, the theater's foremost illusion. Why did we pursue it? Because it was impossible. This paradox might be further defined around the concept of the au- dience, which is not so much, for me, what ...
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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