The Dubious Spectacle: Extremities of Theater, 1976-2000Spanning 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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Page xii
... actors in every imaginable repeti- tion, in every conceivable corporeal style, mimetic or ideographic, laid back, ribald, wild, as if out of nightmare or, making drag innocent, in eye-opening figurations that you could hardly imagine ...
... actors in every imaginable repeti- tion, in every conceivable corporeal style, mimetic or ideographic, laid back, ribald, wild, as if out of nightmare or, making drag innocent, in eye-opening figurations that you could hardly imagine ...
Page xvi
... acting was the privilege of the personal ( or in the rites of priva- cy its unspeakable “ private moment ” ) . The ... actors , who — speaking of corpo- real style could literally perform standing on their heads or , with ideo- graphic ...
... acting was the privilege of the personal ( or in the rites of priva- cy its unspeakable “ private moment ” ) . The ... actors , who — speaking of corpo- real style could literally perform standing on their heads or , with ideo- graphic ...
Page xxii
... Actor's Workshop. Clurman was generously responsive to some of my earliest writings, and his encour- agement as our ... actors we had inherited and the hazards of New York, Harold walked me back to the theater, the stage door closing ...
... Actor's Workshop. Clurman was generously responsive to some of my earliest writings, and his encour- agement as our ... actors we had inherited and the hazards of New York, Harold walked me back to the theater, the stage door closing ...
Page 21
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Page 24
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Contents
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