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 xviii
... period when I directed, one after the other, plays by Brecht, Sean O'Casey, and Arthur Miller, all of them on the left, sufficiently so that we developed a considerable following among the labor unions and—with its newspaper, The ...
... period when I directed, one after the other, plays by Brecht, Sean O'Casey, and Arthur Miller, all of them on the left, sufficiently so that we developed a considerable following among the labor unions and—with its newspaper, The ...
Side xx
... period of the Cold War. There are many more thea- ters around (“regional theaters” then, “resident professional” now), out- side of New York, than there were at the time (about three hundred now, I hear, as opposed to the handful then) ...
... period of the Cold War. There are many more thea- ters around (“regional theaters” then, “resident professional” now), out- side of New York, than there were at the time (about three hundred now, I hear, as opposed to the handful then) ...
Side xxiii
... periods, was a sense of the “fervently impossible,” there was a point in both of our lives where we had to assess whatever illusions we may have had about the social formation required in order to sustain a theater. When the Group sus ...
... periods, was a sense of the “fervently impossible,” there was a point in both of our lives where we had to assess whatever illusions we may have had about the social formation required in order to sustain a theater. When the Group sus ...
Side 2
... period suspicious of ontology, a sort of ontology of performance—or just this side of “essentialism,” a subatomic physics. That book was titled Take Up the Bodies: Theater at the Vanishing Point, which is the originary text of all I ...
... period suspicious of ontology, a sort of ontology of performance—or just this side of “essentialism,” a subatomic physics. That book was titled Take Up the Bodies: Theater at the Vanishing Point, which is the originary text of all I ...
Side 4
... periods, or a function ofit in a relation of reciprocity—has always, of course, been subject to change, which is its subject. I wrote of the theater long ago as a time-serving form, but with the insubstantial pageant fading ...
... periods, or a function ofit in a relation of reciprocity—has always, of course, been subject to change, which is its subject. I wrote of the theater long ago as a time-serving form, but with the insubstantial pageant fading ...
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