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 xi
... speak of the seductive filmic flatness as a virtual theater of death. As I suggest toward the end of the essay, what Barthes says of the photograph might be describing Brecht's Baal, whose serial mortifications not only occur in quick ...
... speak of the seductive filmic flatness as a virtual theater of death. As I suggest toward the end of the essay, what Barthes says of the photograph might be describing Brecht's Baal, whose serial mortifications not only occur in quick ...
Side xii
... speak of one domain in which I feel some privilege. I have spent a lot of years watching actors in every imaginable repetition, in every conceivable corporeal style, mimetic or ideographic, laid back, ribald, wild, as if out of ...
... speak of one domain in which I feel some privilege. I have spent a lot of years watching actors in every imaginable repetition, in every conceivable corporeal style, mimetic or ideographic, laid back, ribald, wild, as if out of ...
Side xiv
... speak of collaborating with musicians who, with next to no money at all, were engaged in the “desperate enterprise of destroying music as a commodity” or, like John Cage, fetishizing noise as a way of rescuing music from the concert ...
... speak of collaborating with musicians who, with next to no money at all, were engaged in the “desperate enterprise of destroying music as a commodity” or, like John Cage, fetishizing noise as a way of rescuing music from the concert ...
Side xvi
... speaking of corporeal style—could literally perform standing on their heads or, with ideographic precision, acrobatically through the air. Situated where it is, the text is still in the reflective vicinity of “Afterthought from xvi ...
... speaking of corporeal style—could literally perform standing on their heads or, with ideographic precision, acrobatically through the air. Situated where it is, the text is still in the reflective vicinity of “Afterthought from xvi ...
Side 1
... speak for it. Perhaps so. It may not in any way appease her, but it should be apparent in what I have written that ifI were somehow speaking for the theater I did 1.
... speak for it. Perhaps so. It may not in any way appease her, but it should be apparent in what I have written that ifI were somehow speaking for the theater I did 1.
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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