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 ix
... mind that may rub against the grain of the new historicizations, no less the often foregone conclusions in the heuristics of cultural studies or—in the ethnographic consciousness now prominent in the field—the more predictable ...
... mind that may rub against the grain of the new historicizations, no less the often foregone conclusions in the heuristics of cultural studies or—in the ethnographic consciousness now prominent in the field—the more predictable ...
Side xii
... mind in those who never had it, but even with the finest of actors in the most unbearable of rehearsals, of which (sitting there in the dark through the many years) I have watched more than I care to remember. As for trying to do ...
... mind in those who never had it, but even with the finest of actors in the most unbearable of rehearsals, of which (sitting there in the dark through the many years) I have watched more than I care to remember. As for trying to do ...
Side xix
... mind, which appears recently to have surfaced, however, in the vicinity of Broadway. Just this morning, for instance, a review in the New York Times of a play called Proof—about father and daughter mathematicians—began with the sentence ...
... mind, which appears recently to have surfaced, however, in the vicinity of Broadway. Just this morning, for instance, a review in the New York Times of a play called Proof—about father and daughter mathematicians—began with the sentence ...
Side xxii
... mind, highly verbal, physically charged, like a kind of brain fever in the body, caught up almost acrobatically in the incessant ghosting of thought.” This would appear to be at some performative and conceptual distance from the Method ...
... mind, highly verbal, physically charged, like a kind of brain fever in the body, caught up almost acrobatically in the incessant ghosting of thought.” This would appear to be at some performative and conceptual distance from the Method ...
Side 9
... mind, conscious that any apparent unity in the theater was, irreparably, in the reality of fracture, an essential rupture, for which the idea of community itself has always been a cover-up, as Euripides knew in his critique of the ...
... mind, conscious that any apparent unity in the theater was, irreparably, in the reality of fracture, an essential rupture, for which the idea of community itself has always been a cover-up, as Euripides knew in his critique of the ...
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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