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 vii
... Voice 132 53 16. Noise, Musication, Beethoven, and Solid Sound 230 New Music. 8. A Valediction Chills and Fever, Mourning, and the Vanities of the Sublime 9. The Dubious Spectacle of Collective Identity 137 10. Fantasia and Simulacra 157 ...
... Voice 132 53 16. Noise, Musication, Beethoven, and Solid Sound 230 New Music. 8. A Valediction Chills and Fever, Mourning, and the Vanities of the Sublime 9. The Dubious Spectacle of Collective Identity 137 10. Fantasia and Simulacra 157 ...
Side xxii
... Voice,” which provides, after a discussion of its methodological ground- ing and theoretical implications, the text of the Vocal Sequence that eventually came out of this work, and which in its execution becomes a performance itself ...
... Voice,” which provides, after a discussion of its methodological ground- ing and theoretical implications, the text of the Vocal Sequence that eventually came out of this work, and which in its execution becomes a performance itself ...
Side 6
... voice that did not, however, resonate with near derangement as in the annals of marginality. The voice was formed, rather, in the Cartesian tradition, and if there was a note of dispossession (to which we will turn in a moment), it came ...
... voice that did not, however, resonate with near derangement as in the annals of marginality. The voice was formed, rather, in the Cartesian tradition, and if there was a note of dispossession (to which we will turn in a moment), it came ...
Side 10
... voice : " No audience . No echo . That's of one's death , ' wrote Virginia Woolf in her diary at the start of World War II . She was working on Between the Acts , in which the audience , ' orts , scraps and fragments like ourselves ...
... voice : " No audience . No echo . That's of one's death , ' wrote Virginia Woolf in her diary at the start of World War II . She was working on Between the Acts , in which the audience , ' orts , scraps and fragments like ourselves ...
Side 11
... voice of the wide world dreaming, anti-oedipally, on things that are yet to come—we are still caught up in the future of illusion. Which remains, and ever will, what all ideological struggle is about. That is the burden of the last book ...
... voice of the wide world dreaming, anti-oedipally, on things that are yet to come—we are still caught up in the future of illusion. Which remains, and ever will, what all ideological struggle is about. That is the burden of the last book ...
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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