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Alienation Effects

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ISBN: 9780472073146 Year: Pages: 370 DOI: 10.3998/mpub.338565 Language: English
Publisher: University of Michigan Press Grant: Knowledge Unlatched
Subject: Languages and Literatures
Added to DOAB on : 2016-07-01 11:01:18
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Exciting new scholarship has been emerging as performance studies scholars begin to turn their attention to the performance of politics, nationhood, and jurisprudence. Branislav Jakovljevic’s project on the history and eventual demise of the former Yugoslavia demonstrates how fruitful this approach can be. Jakovljevic considers the concept of theatricality as central to understanding the events that took place in Yugoslavia. He examines the country’s trials, state ceremonies and festivals, army maneuvers, propaganda, and pop culture as “rehearsals and temporary enactments of an ideologically formulated future.” His first chapter reveals the surrealist, avant-garde origins of key members of the Yugoslav bureaucracy after WWII, suggesting that those connections helped the culture of socialist Yugoslavia become a performance-centered culture. Continuing to explore the relationship between the political avant-garde and the artistic avant-garde, he looks at the spectacle of student demonstrations in Belgrade in 1968, and, in their aftermath, the rise of performance art in the country. The third chapter (included here) zeros in on the various political performances of Slobodan Milosevic, including his courtroom testimony at the ICTY, the International Criminal Tribunal for the former Yugoslavia. The fourth chapter discusses the “Peter Handke Affair,” when the Austrian playwright had a major prize revoked after he attended Milosevic’s funeral and recited a poem he had written in Milosevic’s honor.

Spectacular Disappearances

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ISBN: 9780472900619 9780472119806 Year: Pages: 297 DOI: 10.26530/OAPEN_608305 Language: English
Publisher: University of Michigan Press Grant: Knowledge Unlatched
Subject: Performing Arts
Added to DOAB on : 2016-05-22 11:01:30
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"How can people in the spotlight control their self-representations when the whole world seems to be watching? The question is familiar, but not new. Julia Fawcett examines the stages, pages, and streets of eighteenth-century London as England's first modern celebrities performed their own strange and spectacular self-representations. They include the enormous wig that actor Colley Cibber donned in his comic role as Lord Foppington--and that later reappeared on the head of Cibber's cross-dressing daughter, Charlotte Charke. They include the black page of Tristram Shandy, a memorial to the parson Yorick (and author Laurence Sterne), a page so full of ink that it cannot be read. And they include the puffs and prologues that David Garrick used to heighten his publicity while protecting his privacy; the epistolary autobiography, modeled on the sentimental novel, of Garrick's protégée George Anne Bellamy; and the elliptical poems and portraits of the poet, actress, and royal courtesan Mary Robinson, a.k.a. Perdita.&#xD;&#xD;Linking all of these representations is a quality that Fawcett terms ""over-expression,"" the unique quality that allows celebrities to meet their spectators' demands for disclosure without giving themselves away. Like a spotlight so brilliant it is blinding, these exaggerated but illegible self-representations suggest a new way of understanding some of the key aspects of celebrity culture, both in the eighteenth century and today. They also challenge divides between theatrical character and novelistic character in eighteenth-century studies, or between performance studies and literary studies today. The book provides an indispensable history for scholars and students in celebrity studies, performance studies, and autobiography—and for anyone curious about the origins of the eighteenth-century self."

Shakespeare im Spiegelkabinett - Zur produktiven Vielfalt seiner Rezeption

Authors: ---
ISBN: 9783863952822 Year: Language: English|German
Publisher: Universitätsverlag Göttingen
Subject: Linguistics
Added to DOAB on : 2017-02-12 11:01:15
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2014 and 2016, marked by the 450th anniversary of his birthday and the 400th anniversary of his demise respectively, have both been dedicated to the remembrance of William Shakespeare and the celebration of his work through readings, theater productions, movies, exhibitions, and many academic events. He is fondly called the “Bard” by many and has long been England's export hit. Shakespeare gained lasting fame and fortune during his lifetime not only by successfully moving his audience, but also because from the beginning his work inspired critical and artistic dialogue. The ingenuity and uniqueness of his work did not fail to inspire the creative imagination of successive generations of authors, artists, and musicians over the past four and a half centuries. In fact, each generation has reimagined and recreated Shakespeare in its own different way, bringing its own interpretation, themes, fashion, taste, and customs to the rereading, visualization, and intonation of his work. The brand “Shakespeare” is still as popular and productive as ever. A fact that is apparent not only in the huge numbers of visitors yearly to Stratford upon Avon and Verona, the city of Shakespeare's tragic-romance Romeo and Juliet, but also in the long line of movies produced based on his plays each year. One might even go as far as to assert that it is the generations of productive readers and their own unique creative interpretations that have kept the Bard alive over the past 450 years. This collection of essays celebrates Shakespeare’s two big anniversaries and takes the opportunity to look at him from a different perspective, as a source of inspiration and, for a change, to explore the eclectic results of centuries of productive reception of his work from the Elizabethan era up to the 21rst century.

Theater im Gespräch. Sprachliche Publikumspraktiken in der Theaterpause

Authors: --- ---
ISBN: 9783110527094 Year: Pages: 438 DOI: 10.1515/9783110527094 Language: German
Publisher: De Gruyter
Subject: Performing Arts --- Languages and Literatures --- Linguistics --- Media and communication
Added to DOAB on : 2018-09-11 11:41:34
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Conversation during theater intermissions is informed by an idealized notion of an audience which communicates with rhetorical aplomb about aesthetic and sociopolitical issues. By contrast, critics suggest that such conversations serve primarily to emphasize social distinction and are banal in content. The study examines intermission talk, which stands at the intersection between art communication, recreation, conviviality, and informal learning.

Theater as Metaphor

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ISBN: 9783110622034 Year: Pages: 276,00 DOI: 10.1515/9783110622034 Language: English
Publisher: De Gruyter
Subject: Languages and Literatures
Added to DOAB on : 2019-06-27 13:08:38
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The papers of the present volume investigate the potential of the metaphor of life as theater for literary, philosophical, juridical and epistemological discourses from the Middle Ages through modernity, and focusing on traditions as manifold as French, Spanish, Italian, German, Russian and Latin-American.

Between Stage and Screen

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Book Series: Film Culture in Transition ISBN: 9789053561379 Year: Pages: 244 DOI: 10.5117/9789053561379 Language: Undetermined
Publisher: Amsterdam University Press
Subject: Performing Arts --- Media and communication
Added to DOAB on : 2011-11-04 00:00:00
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Ingmar Bergman is worldwide known as a film and stage director. Yet no-one has attempted to compare his stage and screen activities. In Between stage and screen Egil Törnqvist examines formal and thematical correspondences and differences between a number of Bergman's stage, screen, and radio productions. In the prologue Bergman's spiritual and aesthetic heritage and his position in the twentieth century media landscape is outlined. In the epilogue the question is answered to what extent one can speak of Bergman's directorial 'method' irrespective of the chosen medium.

Strindberg's Ghost Sonata

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ISBN: 9789053564356 Year: Pages: 270 DOI: 10.5117/9789053564356 Language: Undetermined
Publisher: Amsterdam University Press
Subject: Social Sciences --- Media and communication --- Performing Arts
Added to DOAB on : 2011-11-04 00:00:00
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Generally considered one of milestones in the development of modern drama, August Strindberg's chamber play The Ghost Sonata (1907) has variously been hailed as the first expressionist, surrealist and absurdist drama. rIn this monograph of the play as text and as performance - the first of its kind - Egil Törnqvist examines, in four chapters, the source text, various translations of it into English, the stage versions of Max Reinhardt, Olof Molander and Ingmar Bergman, and select radio and TV adaptations. In two framing chapters the background and impact of the play are illuminated. Focusing on Bergman's 1973 production, the book in addition contains a rehearsal diary and a transcription of this production. It is concluded with an annotated list of select productions.

Dostojewskij intermedial

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Book Series: Jahrbuch der Deutschen Dostojewskij-Gesellschaft ISBN: 9783866881938 Year: Pages: 168 Language: German
Publisher: Peter Lang International Academic Publishing Group
Added to DOAB on : 2019-01-15 13:32:11
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Aus dem Inhalt: Gudrun Goes, Vorwort; Wolf Schmid, "Die Brüder Karamazov" - Dostoevskijs Pro und Contra; Philip Maroldt, Aus der allereigensten Enge; Lutz Keßler, Verbrechen und Strafe in Göttingen; Thomas Bischoff, Spielfassung von Fjodor Dostojewskijs "Verbrechen und Strafe" in der Übersetzung von Swetlana Geier für das Deutsche Theater in Göttingen; Anja Sackarendt, "Bin ich ein Mensch oder eine Laus?" Zur Magdeburger Inszenierung von "Schuld und Sühne"; Isabelle Kock, Josefine Preiss, Eine vergleichende Analyse ausgewählter stofflich-thematischer Ansätze in Dostojewskijs "Schuld und Sühne" und der gleichnamigen Inszenierung am Magdeburger Schauspielhaus; Dunja Brötz, Dostojewskijs "Schuld und Sühne" (Prestuplenie i nakazanie, 1866) als filmischer Albtraum bei Heithor Dhalia ("Nina" 2004) und Brad Anderson ("The Machinist" 2004); Thomas Blume, Wie viel Dostojewskij steckt in Tarkowskij? Eine Annäherung; Clemens Heithus, Deutsche Dostojewskij-Bibliographie 2010: Rezensionen.

Emotional Excess on the Shakespearean Stage

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ISBN: 9781408179680 9781408179666 Year: Language: English
Publisher: Bloomsbury Academic Grant: Knowledge Unlatched - 102542
Subject: Performing Arts
Added to DOAB on : 2019-03-08 11:21:04
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Emotional Excess on the Shakespearean Stage demonstrates the links made between excess of emotion and madness in the early modern period. It argues that the ways in which today's popular and theatrical cultures judge how much is too much can distort our understanding of early modern drama and theatre. It argues that permitting the excesses of the early modern drama onto the contemporary stage might free actors and audiences alike from assumptions that in order to engage with the drama of the past, its characters must be just like us.The book deals with characters in the plays of Shakespeare and his contemporaries who are sad for too long, or angry to the point of irrationality; people who laugh when they shouldn't or make their audiences do so; people whose selfhood has broken down into an excess of fragmentary extremes and who are labelled mad.

Itinerant Spectator/Itinerant Spectacle

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ISBN: 9780615858968 Year: Pages: 262 DOI: 10.21983/P3.0056.1.00 Language: English
Publisher: punctum books
Subject: Performing Arts
Added to DOAB on : 2019-06-12 09:24:42
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Itinerant Spectator/Itinerant Spectacle moves across the landscape of European performance in late 20th and early 21st centuries, recounting performance in circulation across national borders and across the itinerant bodies of spectators who travel to meet performances that travel. Itinerant Spectator/Itinerant Spectacle suggests spectating is a practice — an act of interpretation engaged in more than simply receiving the affects of a performance, a companion practice to the making of performance. The work forms a part of Skantze’s ongoing explorations of what she terms the ‘epistemology of practice as research.’ IS/IS theorizes spectating as a practice that extends beyond the theatre, as a practice of writing as recollecting (and recollecting as writing) at the center of what has been called “criticism.” The book grounds spectatorship in the subjective, embodied, differenced practice of spectating not from a fixed location or standpoint but from a ground that constantly shifts, that is, from the ground of the roving positionalities of the “itinerate spectator.” Following Walter Benjamin, for example, Skantze importantly adopts the privileges of the flaneur as a feminist and rather queer project, one that refuses to be tied to the minor position, to that of the impossible “flaneuse.”

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