Titlebook: Against Theatre; Creative Destruction Alan Ackerman (Associate Professor),Martin Puchner Book 2006 Palgrave Macmillan, a division of Macmil

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https://doi.org/10.1007/978-3-030-05849-4didn’t think of Morty’s work as being theatrical. It seemed to me to be more, oh, you might say, lyrical . . . And Christian’s work seemed to me more musical . . . whereas I seemed to be involved in theater. What could be more theatrical than the silent pieces – somebody comes on the stage and does absolutely nothing.

牲畜栏

CHOIR

Luca Faramondi,Gabriele Oliva,Roberto Setolawould be replaced by metatheatre’ in the theatres of Shakespeare and Calderon, Abel argued, after whom extended a lineage that stretched to Pirandello, Genet, Brecht and Beckett. These plays had not been recognized as a distinct form, Abel said, and had no name: ‘I shall presume to designate them. I call them metaplays, works of metatheatre.’

aesthetician

使出神

Affectation

SPER

Seungoh Choi,Jeong-Han Yun,Sin-Kyu Kime stage is inevitably a mere symptom for some other, less effable social or metaphysical malady. The case ‘against’ the theatre is fascinating precisely because it stages such a broad spectrum of transhistorical anxieties in historically and culturally specific terms, such that anti-theatrical diatr

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https://doi.org/10.1007/11962977han any other playwright, succeeded in establishing ‘America’s kinship’, in the words of one of his earliest champions, ‘with the stage of the modern world’.5 With O’Neill’s long string of Broadway successes during the 1920s, from . to ., ‘American drama’, Barnard Hewitt announced, finally ‘came of

任命

Engla Ling,Robert Lagerström,Mathias Ekstedt spell-bound’, ‘flouncing [her] clothing’, ‘wriggl[ing] and twist[ing], turn[ing], cavort[ing], and kick[ing]’, one Inspector Williams advanced toward the footlights and said: ‘ “Stop that!” ’ Defiantly continuing, the dancers were arrested and charged with ‘performing a dance contrary to good moral