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. Blau's struggle to bring a critical intelligence to the American stage goes back half a century, to the quiescent postwar years (which he has eloquently described in The Impossible Theater: A Manifesto). His innovations in performance began with early productions of now-canonical plays that were hardly known at that time (works by Brecht, Beckett, Genet, Pinter, Duerrenmatt, and others). His experience is as distinctive as his versatile habits of mind and conceptual urgency of style. If the impossible takes a little time (as the title of one essay states), Blau's struggle now continues in a theoretical vein. Performance-and his own compelling writing- has moved across other genres and disciplines into fashion, politics, sexuality, and theory. His diversity of thought is demonstrated here in commentaries about the newer modes of performance (including conceptual and body art), various American playwrights, Renaissance drama, new music and theater, voice, the senses and the baroque, and the photographic image. As the essays reflect upon each other, a kind of cultural history, with inflections of autobiography, develops-which is what readers of Blau's previous books have come to expect. |
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... social construction ( gender , race , ethnicity , class ) , it may seem peculiar to encounter , from the opening essay on , a view of the theater so insistently ontological . If that remains the egregious reflex of a hopeless ...
... social praxis " or " cultural produc- tion . " And I cannot imagine any of them announcing anything like a " subject position . " " A Valediction " is brief and maybe a little testy , but what came through the chills and fever is what ...
... social imaginary , unblocking so- cial praxis or refining an identity politics in ways it had not foreseen . As for a politics of performance , that may define itself , too , in unan- ticipated ways , as it did for me in San Francisco ...
... social body whose apparent unity is that of an essential separation , which Brecht accepted as an irreversible datum in the formulation of a method and which — in the desire to overcome the separation on behalf of " essential theater ...
... social formation required in order to sustain a theater . When the Group sus- pended operations in 1941 , Harold insisted that it was not because of a loss of vision or inspiration , but because — for all the talk of collectivity during ...
المحتوى
Theater at the End of the Real | 9 |
2 The Impossible Takes a Little Time | 26 |
3 Spacing Out in the American Theater | 45 |
Rehearsing the Resistance | 61 |
5 A Dove in My Chimney | 70 |
An Analytic Scenario | 78 |
The Grail of the Voice | 126 |
Chills and Fever Mourning and the Vanities of the Sublime | 140 |
13 Readymade Desire | 207 |
From Tango Palace to Mud | 214 |
The Group Idea and Its Legacy | 223 |
New Music and Theater | 238 |
17 FlatOut Vision | 254 |
Sovereign Pleasure and the Baroque Subject in the Tragicomedies of John Fletcher | 273 |
Revising the Abyss | 289 |
The Insane Root | 315 |
9 The Dubious Spectacle of Collective Identity | 145 |
Subtext of a Syllabus for the Arts in America | 165 |
Educating the American Theater | 189 |
12 The Pipe Dreams of ONeill in the Age of Deconstruction | 197 |
Notes | 329 |
343 | |
345 | |