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
... social construction (gender, race, ethnicity, class), it may seem peculiar to encounter, from the opening essay on, a view of the theater so insistently ontological. If that remains the egregious reflex of a hopeless essentialism, the ...
... social construction (gender, race, ethnicity, class), it may seem peculiar to encounter, from the opening essay on, a view of the theater so insistently ontological. If that remains the egregious reflex of a hopeless essentialism, the ...
Side xvii
... social praxis ” or “ cultural produc- tion . ” And I cannot imagine any of them announcing anything like a “ subject position . ” “ A Valediction ” is brief and maybe a little testy , but what came through the chills and fever is what ...
... social praxis ” or “ cultural produc- tion . ” And I cannot imagine any of them announcing anything like a “ subject position . ” “ A Valediction ” is brief and maybe a little testy , but what came through the chills and fever is what ...
Side xviii
... social imaginary , unblocking so- cial praxis or refining an identity politics in ways it had not foreseen . As for a politics of performance , that may define itself , too , in unan- ticipated ways , as it did for me in San Francisco ...
... social imaginary , unblocking so- cial praxis or refining an identity politics in ways it had not foreseen . As for a politics of performance , that may define itself , too , in unan- ticipated ways , as it did for me in San Francisco ...
Side xix
... social body whose apparent unity is that of an essential separation , which Brecht accepted as an irreversible datum in the formulation of a method and which — in the desire to overcome the separation on behalf of “ essential theater ...
... social body whose apparent unity is that of an essential separation , which Brecht accepted as an irreversible datum in the formulation of a method and which — in the desire to overcome the separation on behalf of “ essential theater ...
Side xxiii
... social formation required in order to sustain a theater. When the Group sus- pended operations in 1941, Harold insisted that it was not because of a loss of vision or inspiration, but because—for all the talk of collectivity during the ...
... social formation required in order to sustain a theater. When the Group sus- pended operations in 1941, Harold insisted that it was not because of a loss of vision or inspiration, but because—for all the talk of collectivity during 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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