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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... sort of intellectual history of a turning from theater to theory , charged as it was to begin with by the work I had done in the theater— which , elsewhere , I have defined as " blooded thought . " What was also there to begin with , in ...
... sort of embodied performance that endorses or perpetu- ates what representation conceals . Which returns us to the charge ( an- other repetitive act ) that it is a humanistic cover - up for invisible power . If , by way of Foucault or ...
... sort of visual poetry , it still conveys much of what was extraordinary about the work , mainly the group's rethinking of Hamlet or , as I suggest in an introductory note , Hamlet's rethinking of us . In that process there was a kind of ...
... sort of atonement . For it may be apparent here and there that since my earliest work in the theater I have not been very well disposed to American drama , though I have always intended to write a book in which I make the case for it ...
... sort of ghosting , the figure of Walt , cryogenically preserved — informs " Fantasia and Simulacra : Subtext of a Syllabus for the Arts in America . " If there is anything like a peda- gogy that goes along with the syllabus , it is ...
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 | |