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 x
... seem to go away—it somehow always escapes us or is not what it appears to be, as if at the heart of the re- ality principle is the future of illusion? And why do we seem to forget that at the heart of the theater itself is a genetic ...
... seem to go away—it somehow always escapes us or is not what it appears to be, as if at the heart of the re- ality principle is the future of illusion? And why do we seem to forget that at the heart of the theater itself is a genetic ...
Side xiv
... seem music at all—whether emanating from aboriginal synthesizers or prepared pianos, a car crash, screeches, the hum ... seems to forget. The order of essays is such that, in the successions of thought, some of what appears to follow was ...
... seem music at all—whether emanating from aboriginal synthesizers or prepared pianos, a car crash, screeches, the hum ... seems to forget. The order of essays is such that, in the successions of thought, some of what appears to follow was ...
Side xvi
... seems anomalous, it refers to the fact that while I was turning over the questions, there was a dove in my chimney, behaving like Gertrude Stein. With a redundancy never ceasing, yet beguilingly there, that “logorrheic bird” took over ...
... seems anomalous, it refers to the fact that while I was turning over the questions, there was a dove in my chimney, behaving like Gertrude Stein. With a redundancy never ceasing, yet beguilingly there, that “logorrheic bird” took over ...
Side xxiv
... seems to have taken on the properties ofa fundamental need, traversing all aspects of our lives, from the recesses of the un- conscious to the presentation ofa self (or some facsimile ofidentity in a singular being), what remains ...
... seems to have taken on the properties ofa fundamental need, traversing all aspects of our lives, from the recesses of the un- conscious to the presentation ofa self (or some facsimile ofidentity in a singular being), what remains ...
Side 3
... seems overloaded with the play within the play, that is because the dominion of appearance is facilitated and augmented by the random exactitude of the camera: not that this not this that, the metaphor suffused with metonymy. Yet, for ...
... seems overloaded with the play within the play, that is because the dominion of appearance is facilitated and augmented by the random exactitude of the camera: not that this not this that, the metaphor suffused with metonymy. Yet, for ...
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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