Gespeichert in:
| Beteiligte Personen: | , |
|---|---|
| Format: | Buch |
| Sprache: | Englisch |
| Veröffentlicht: |
London [u.a.]
Routledge
2008
|
| Ausgabe: | Reprinted |
| Schriftenreihe: | The new critical idiom
|
| Schlagwörter: | |
| Links: | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017094635&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017094635&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| Umfang: | VII, 262 S. |
| ISBN: | 0415234948 041523493X 9780415234948 9780415234931 |
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Datensatz im Suchindex
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|---|---|
| adam_text | Contents
Series Editor s Preface
viii
Introduction
1
Part one: A Genealogy
5
1
Drama and Theatre as University Subjects
7
2
Drama and the Literary Tradition
15
Mingling Kings and Crowns: Sidney T5
Nature at a Higher Pitch: Dryden
17
The Stage is only a Stage: Johnson
19
Drama and Order: Sidney, Dryden, Johnson 2O
Confusion of the Natural Order of Things:
Coleridge
22
Imitation: an Interlude
23
Modern Tragedy: Bradley
25
Dramatic Poems: Knights and New Criticism
27
Human Needs and Satisfactions: Eliot
29
Embodying History and Presence: Williams
31
3
History, Theatre, Society
35
Drama, Theatre and History
35
Drama and Society
4З
4
The Essence of Drama
56
The Nature and Origins of Drama
56
Drama s Origin and Human Nature
58
Drama s Origin and Human Organisation 60
Nietzsche 6l
Artaud
63
Drama s Psychoanalytic Truth
65
VI
CONTENTS
Women, Theatre and the Ethics of the Academy 70
Feminism and the Discipline of Theatre Studies 70
Feminism, Tragedy and the Patriarchal Academy
72
Feminist Ethics and Positionality
73
Feminist Communities, Textuality and
Transcendence
76
Technologies of Gender and the Feminist Subject
78
Marked and Un(re)marked 80
Performance, Art and the
Avant
Carde
82
Narrative Definitions of Performance
82
The Question of Critique
88
Fluxus
and Situationism: Keys to Another Narrative 90
Western Marxism and After
96
The Rise of Performance Studies
1O2
The First Performance Studies Department
Ю2
Schechner and the Ethics of Performance Studies
104
Performance Studies and Academic Imperialism
107
Historicising the Emergence of Performance
Studies: The Liminal Norm
ПО
A General Theory of Performance
П2
Performance Studies: Some Basic Concepts
11 6
Aesthetic and Social Drama n6
Ritual
118
Play
122
Theatre Anthropology
127
Cultural Performance
ТЗ*-1
Postmodernism and Performance
134
Minimalism, Theatricality and the Authority of Art
135
Premonitions of Postmodern Performance
137
Undecidability,
Avant
Gardes and the Recuperation
of modernism
139
CONTENTS
VII
Formalism, Feminism and Performance
140
Three Systems of Undecidability
141
Practice, Criticism and the Body
143
The Body and Postmodernity
145
Defining Fields: Art Versus Performance
148
Radicalism, Narcissism and Performing Theory 149
10
Recent Mappings of Drama-Theatre-Performance
151
Performance Versus Theatre
151
Drama, Theatre, Performance
. . .
Script and Text 154
Drama Versus Theatre 160
Part two: Keywords
165
Action
167
Aleatory
172
Catharsis
175
Character, mask, person
179
Defamiliarisation and alienation
185
Embodiment
191
Empathy
Τ
95
Interculturalism 198
Kinaesthetic
207
Mimesis
212
Performativity
22O
Presence and representation
225
Semiotics and phenomenology
236
Bibliography
241
Index
254
What is implied when we refer to the study of performing arts as drama , theatre or
performance ? Each term identifies a different tradition of thought and offers different
possibilities to the student or practitioner. This book examines the history and use of
the terms and investigates the different philosophies, politics, languages and
institutions with which they are associated.
Simon Shepherd and Mick
Wallis:
•
analyse attitudes to drama, theatre and performance at
different historical junctures
•
trace a range of political interventions into the field(s)
•
explore and contextualise the institutionalisation of drama
and theatre as university subjects, then the emergence of
performance as practice, theory and academic discipline
•
guide readers through major approaches to drama, theatre
and performance, from theatre history and sociology,
through theories of ritual or play, to the idea of
performance as paradigm for a postmodern age
•
discuss crucial terms such as action, alienation, catharsis,
character, empathy, interculturalism, mimesis, presence
and representation in a substantial keywords section.
Continually linking their analysis to wider cultural concerns, the authors here offer the
most wide-ranging and authoritative guide available to a vibrant, fast-moving field and
vigorous debates about its nature, purpose and place in the academy.
Simon Shepherd is Director of Programmes at Central School of Speech and Drama in
London. Mick
Wallis
is Professor of Performance and Culture at the University of Leeds.
the NEW CRITICAL IDIOM series
FOR: JOHN DRAKAKI!
|
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