The Dubious Spectacle: Extremities of Theater, 1976-2000U of Minnesota Press, 1. jan. 2002 - 347 sider 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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Side xiii
... Lear , with the remem- brance of a performance , astonishing in its delirium , as if driven by the compulsion to exceed representation by annihilating the body and revis- ing the abyss . As with the two just mentioned , the essays were ...
... Lear , with the remem- brance of a performance , astonishing in its delirium , as if driven by the compulsion to exceed representation by annihilating the body and revis- ing the abyss . As with the two just mentioned , the essays were ...
Side xv
... Lear — or the sequence on American playwrights . As for the one inclu- sion that is not quite an essay , the “ analytical scenario ” of Elsinore — a text generated from Hamlet in my work with the kraken group — it might have followed ...
... Lear — or the sequence on American playwrights . As for the one inclu- sion that is not quite an essay , the “ analytical scenario ” of Elsinore — a text generated from Hamlet in my work with the kraken group — it might have followed ...
Side 12
... Lear, “where the subject of pain is the subject that disappears into the pain” (Audience, 180). So it is in Beckett's Endgame, that virtual model or manual or theory of body art, the consummation of a theater that at its excruciating ...
... Lear, “where the subject of pain is the subject that disappears into the pain” (Audience, 180). So it is in Beckett's Endgame, that virtual model or manual or theory of body art, the consummation of a theater that at its excruciating ...
Side 51
Du har nået visningsgrænsen for denne bog.
Du har nået visningsgrænsen for denne bog.
Side 55
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Indhold
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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acting actors aesthetic American theater appearance Artaud artists Atget audience avant-garde Barthes Baudrillard Beckett Bertolt Brecht body Brecht Broadway Bunraku Cal Arts conception critique culture dead deconstruction Denise desire drama dream emotion essay fantasy Ghost Group Group Theater Hamlet happened Herbert Blau Humorous Lieutenant idea ideological illusion imagination Impossible Theater Isidore issue Jack Jules Irving kind King Lear KRAKEN less look madness Margaret matter meaning memory mind modern moving myth never O’Neill performance Peter photograph play politics postmodern production question regional theaters rehearsal representation Richard Foreman ritual Roland Barthes San Francisco scene seems sense sequence sixties social sort sound space speak spectacle stage Stelarc structure sure T. S. Eliot thea theatrical theory thing thought tion trans truth voice Waiting for Godot words Workshop wrote York