The Dubious Spectacle: Extremities of Theater, 1976-2000U of Minnesota Press, 2002. 1. 1. - 347페이지 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. |
도서 본문에서
37개의 결과 중 1 - 5개
x 페이지
... critique, that the system of representation on which the tradition depends had not only been de- mystified, first by Brecht, then deconstruction, but was in a state of vir- tual collapse. One has only to look, however, at the plaintive ...
... critique, that the system of representation on which the tradition depends had not only been de- mystified, first by Brecht, then deconstruction, but was in a state of vir- tual collapse. One has only to look, however, at the plaintive ...
xx 페이지
... critiquing the theater itself. What was strange, alienating, unsettling in those plays was also a productive ungrounding, thus energizing my own critique. If I avoided, for the most part, writing about American drama, there are belated ...
... critiquing the theater itself. What was strange, alienating, unsettling in those plays was also a productive ungrounding, thus energizing my own critique. If I avoided, for the most part, writing about American drama, there are belated ...
6 페이지
... critique, particularly in the ideological assault on the paradoxes and ten- sions of modernist form, which, for all its antidrama, Godot still master- fully represents, along with the elegiac remnants of a “disempowering” nostalgia ...
... critique, particularly in the ideological assault on the paradoxes and ten- sions of modernist form, which, for all its antidrama, Godot still master- fully represents, along with the elegiac remnants of a “disempowering” nostalgia ...
9 페이지
... critique of the festival of Dionysus, the theater's foremost il- lusion. 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 il- lusion. 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 ...
11 페이지
... critique, dreaming on subversion or transgression if not a Big Bang. To attempt the impossible, I always thought, could be more or less realis- tic, but there seems to me in much academic discourse—whose political desires I mostly share ...
... critique, dreaming on subversion or transgression if not a Big Bang. To attempt the impossible, I always thought, could be more or less realis- tic, but there seems to me in much academic discourse—whose political desires I mostly share ...
목차
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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