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 4
... dead ” ( Camera Lucida , 32 ) . The sacramental image in Barthes's book of the dead is that of his mother , whose Winter Garden photograph was preserved , as if it were a chip of Messianic time , only to his own view . Whatever the fu ...
... dead ” ( Camera Lucida , 32 ) . The sacramental image in Barthes's book of the dead is that of his mother , whose Winter Garden photograph was preserved , as if it were a chip of Messianic time , only to his own view . Whatever the fu ...
Page 13
... dead end of evolutionary process and a compensation for our genetic inadequacies. The fishhooks are, in their testing the limits of the genetic, the primitive technology of another genesis. Without the medi- tative refuge of a mind ...
... dead end of evolutionary process and a compensation for our genetic inadequacies. The fishhooks are, in their testing the limits of the genetic, the primitive technology of another genesis. Without the medi- tative refuge of a mind ...
Page 14
... If we see the body of the performer today flattened into a photograph, as in the case of Cindy Sherman, it is in a sense both living and dead, and the degree of its living depends not only on who 14 Afterthought from the Vanishing Point.
... If we see the body of the performer today flattened into a photograph, as in the case of Cindy Sherman, it is in a sense both living and dead, and the degree of its living depends not only on who 14 Afterthought from the Vanishing Point.
Page 18
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Page 19
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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