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
... stage or that life is a dream or that, seek for truth as we may—in the meta- physical mist of seeming that won't seem to go away—it somehow al- ways escapes us or is not what it appears to be, as if at the heart of the re- ality ...
... stage or that life is a dream or that, seek for truth as we may—in the meta- physical mist of seeming that won't seem to go away—it somehow al- ways escapes us or is not what it appears to be, as if at the heart of the re- ality ...
Side xi
... stage . ” 5 So it was , too , though Brecht did everything he could to remove the fatal star from her breast , with the isolate image of Mother Courage still pulling her wagon at the end of the play . Chasten- ing it may have been , but ...
... stage . ” 5 So it was , too , though Brecht did everything he could to remove the fatal star from her breast , with the isolate image of Mother Courage still pulling her wagon at the end of the play . Chasten- ing it may have been , but ...
Side xix
... stages ? ” And then , calling attention to the physicists of Co- penhagen ( imported from England ) , the playwright of The Real Thing , and the literary types in The Designated Mourner , the reviewer goes on to say that “ all are ...
... stages ? ” And then , calling attention to the physicists of Co- penhagen ( imported from England ) , the playwright of The Real Thing , and the literary types in The Designated Mourner , the reviewer goes on to say that “ all are ...
Side xxii
... actors we had inherited and the hazards of New York, Harold walked me back to the theater, the stage door closing him out as I went in to continue rehearsal. The essay is something more, I trust, than a xxii Introduction.
... actors we had inherited and the hazards of New York, Harold walked me back to the theater, the stage door closing him out as I went in to continue rehearsal. The essay is something more, I trust, than a xxii Introduction.
Side 1
... stage was continuing on the page: a certain elliptical and circuitous density of performance, whose energy came from an obsession with disappearance, or the forms of disappear- ance, now you see it now you don't, the ghostliness of the ...
... stage was continuing on the page: a certain elliptical and circuitous density of performance, whose energy came from an obsession with disappearance, or the forms of disappear- ance, now you see it now you don't, the ghostliness 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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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