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
... sure, resistance to that refusal sustains itself as well, with more or less fantasy of subversion through permutations of theory: from the uncathected notion of a libidinal economy without reserve through the “phantasmaphysics” of ...
... sure, resistance to that refusal sustains itself as well, with more or less fantasy of subversion through permutations of theory: from the uncathected notion of a libidinal economy without reserve through the “phantasmaphysics” of ...
Side xii
... sure as hell know it when I see it and certainly when I don't—never mind in those who never had it, but even with the finest of actors in the most unbearable of rehearsals, of which (sitting there in the dark through the many years) I ...
... sure as hell know it when I see it and certainly when I don't—never mind in those who never had it, but even with the finest of actors in the most unbearable of rehearsals, of which (sitting there in the dark through the many years) I ...
Side xvii
... sure: their “bloodlines are decidedly of the avant-garde,” which caused me to observe that—while hardly indifferent to politics, with transgressive credentials too—they would probably wince at current notions of art as (in the terms of ...
... sure: their “bloodlines are decidedly of the avant-garde,” which caused me to observe that—while hardly indifferent to politics, with transgressive credentials too—they would probably wince at current notions of art as (in the terms of ...
Side xix
... in those first encounters back in the fifties and sixties with Brecht, Beckett, and Genet. To be sure, whatever their charms, Didi and Gogo, Anna Fierling, Madame Irma were not exactly scientific or literary—and. Introduction xix.
... in those first encounters back in the fifties and sixties with Brecht, Beckett, and Genet. To be sure, whatever their charms, Didi and Gogo, Anna Fierling, Madame Irma were not exactly scientific or literary—and. Introduction xix.
Side xxiii
... sure. As if the fatal drama, in hypertext, were coming up to speed, that would appear to be the scene of the dubious spectacle itself, where collective identity—once taxed by tragedy for its funeral needs— passes too into the realm of ...
... sure. As if the fatal drama, in hypertext, were coming up to speed, that would appear to be the scene of the dubious spectacle itself, where collective identity—once taxed by tragedy for its funeral needs— passes too into the realm of ...
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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