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 xi
... wrote for a conference on photography put together by film theorists, what is tragic is only implicit in “the intractable referent of the photograph, what it can't get rid of,” the absence in the image, immobile, funereal, alluring as ...
... wrote for a conference on photography put together by film theorists, what is tragic is only implicit in “the intractable referent of the photograph, what it can't get rid of,” the absence in the image, immobile, funereal, alluring as ...
الصفحة xv
... wrote about it). To the question, asked in the eighties, “What's new in the American theater?” the answer was—considering the expectancies that came out of the sixties—not all that much, though the essay pays attention to what there was ...
... wrote about it). To the question, asked in the eighties, “What's new in the American theater?” the answer was—considering the expectancies that came out of the sixties—not all that much, though the essay pays attention to what there was ...
الصفحة xvii
... wrote the piece that, here, comes soon after Elsinore. “A Valediction: Chills and Fever, Mourning, and the Vanities of the Sublime” is a self-commiserating long title for a short response to another series of questions, posed this time ...
... wrote the piece that, here, comes soon after Elsinore. “A Valediction: Chills and Fever, Mourning, and the Vanities of the Sublime” is a self-commiserating long title for a short response to another series of questions, posed this time ...
الصفحة xviii
... was a great success) edified the incapacities of our liberal audience. “If the audience is not altogether an absence, it is by no means a reliable presence,” I wrote in the opening paragraph of The Audience,11 xviii Introduction.
... was a great success) edified the incapacities of our liberal audience. “If the audience is not altogether an absence, it is by no means a reliable presence,” I wrote in the opening paragraph of The Audience,11 xviii Introduction.
الصفحة xix
Extremities of Theater, 1976-2000 Herbert Blau. presence,” I wrote in the opening paragraph of The Audience,11 with a lasting distrust of easy sentiment in the facsimile of a social body whose apparent unity is that of an essential ...
Extremities of Theater, 1976-2000 Herbert Blau. presence,” I wrote in the opening paragraph of The Audience,11 with a lasting distrust of easy sentiment in the facsimile of a social body whose apparent unity is that of an essential ...
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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