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 xvi
... called “ghosting,”8 which is how Elsinore was developed through numerous re- visions over the course ofa year. Ifwhat it was in performance has receded into memory with the Ghost's “Remember me” (1.5.91), the analytical scenario—which ...
... called “ghosting,”8 which is how Elsinore was developed through numerous re- visions over the course ofa year. Ifwhat it was in performance has receded into memory with the Ghost's “Remember me” (1.5.91), the analytical scenario—which ...
Side xviii
... called) absurdist plays gave a more stringent, tactile sense of the “deep structure” or the “power structure” (terms in usage then), as well as the “instituting discourse” with its “spirals of power” (familiar usage now) that with more ...
... called) absurdist plays gave a more stringent, tactile sense of the “deep structure” or the “power structure” (terms in usage then), as well as the “instituting discourse” with its “spirals of power” (familiar usage now) that with more ...
Side xix
... called Proof—about father and daughter mathematicians—began with the sentence, “Have you noticed how many well-educated characters are holding forth on New York stages?” And then, calling attention to the physicists of Copenhagen ...
... called Proof—about father and daughter mathematicians—began with the sentence, “Have you noticed how many well-educated characters are holding forth on New York stages?” And then, calling attention to the physicists of Copenhagen ...
Side 6
... called fashionable then, though it seems rea- sonably transparent now, was the “obscurity” of the play—which at some performances at our theater sent certain spectators up the wall— though some obscurity would seem to have been ...
... called fashionable then, though it seems rea- sonably transparent now, was the “obscurity” of the play—which at some performances at our theater sent certain spectators up the wall— though some obscurity would seem to have been ...
Side 13
... called the grain of the voice, which seems in Artaud—as in the performance art of Diamanda Galas—to tear itself out of the throat. And when that occurs, it is as if, the language lined with flesh, the body is nothing but voice ...
... called the grain of the voice, which seems in Artaud—as in the performance art of Diamanda Galas—to tear itself out of the throat. And when that occurs, it is as if, the language lined with flesh, the body is nothing but voice ...
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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