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Secret Life of Theater: On the Nature and Function of Theatrical Representation [Minkštas viršelis]

  • Formatas: Paperback / softback, 202 pages, aukštis x plotis: 234x156 mm, weight: 330 g
  • Išleidimo metai: 18-Jan-2019
  • Leidėjas: Routledge
  • ISBN-10: 113833460X
  • ISBN-13: 9781138334601
Kitos knygos pagal šią temą:
  • Formatas: Paperback / softback, 202 pages, aukštis x plotis: 234x156 mm, weight: 330 g
  • Išleidimo metai: 18-Jan-2019
  • Leidėjas: Routledge
  • ISBN-10: 113833460X
  • ISBN-13: 9781138334601
Kitos knygos pagal šią temą:
What is the secret DNA of theatre? What makes it unique from its sister arts? Why was it invented? Why does it persist? And now, in such an advanced technological age, why do we still feel compelled to return to a mode of expression that was invented over two thousand years ago? These are some of the foundational questions that are asked in this study of theatre from its inception to today. The Secret Life of Theatre begins with a look at theatre’s origins in Ancient Greece. Next, it moves on to examine the history and nature of theatre from Agamenon to Angels in America through theatre’s use of stage directions, revealing the many unspoken languages that are employed to communicate with its audiences. Finally, it looks at theatre’s ever shifting strategies of engendering fellow feeling through the use of emotion, allowing the form to become a rare space where one can feel a thought and think a feeling. In an age when many studies are concerned with the ‘how’ of theatre, this work returns us to theatre’s essential ‘why’. The Secret Life of Theatre suggests that by reframing the question, we can re-enchant this unique and ever-vital medium of expression.
Acknowledgments x
In praise of not knowing: an introduction
1(12)
1 What we can know about the origins of theater, which is always less than we would like, and yet not grounds for despair
3(3)
2 How great works work against our desire to know, and why the question should always exceed the answer
6(2)
3 The problem with thinking wc know a thing or two: or the rise of the answer at the expense of the question
8(2)
4 The special providence of certain questions: or the necessity for the re-enchantment of theater
10(3)
PART I The invention of the outside: on the nature and functions of theater
13(46)
5 Borges and theater: what the great Argentine poet can tell us about the secret life of theater
15(2)
6 Beneath Averroes' window: Borges' first clue; the family resemblance of play, ritual, and theater
17(9)
7 The story of Abu-al-Hasan and the house of painted wood: or BorgCS1 Second clue, the ascension of the ocular
26(5)
8 From the mimetic to the meta-theatric: the four modalities of theatrical expression
31(13)
9 The Companions of the Cave. Borges' third due, on the necessity' of thresholds
44(7)
10 Anatomy of failure: why the machine of theater breaks down
51(4)
11 Recapitulation #1: or toward the what of theater
55(4)
PART II Nine and a half tableaux: theater's ek-static ability to bring what is hidden into view
59(68)
12 Welcome to the Museum of Ek-stasis: or when things "stand out" in theater
61(3)
13 Exhibit one: Agamemnon redux: the optics of the tragic
64(7)
14 Exhibit two: Abraham and Isaac, difference, variance, and making time manifest
71(8)
15 Exhibit three: Romeo mid Juliet: love and other spatial relations
79(6)
16 Exhibit four: The Winter's Tale: seeing being
85(7)
17 Exhibit five: Tartuffe: the not-so-secret life of inanimate objects
92(5)
18 Exhibit six: Faust: the persistence of allegory
97(5)
19 Exhibit seven: Woyzeck: reading other minds, or the discovery of subtext
102(5)
20 Exhibit eight: The Three Sisters: the invention of the pause and intimations of the void
107(7)
21 Exhibit nine: Galileo:"making strange": the fine art of seeing otherwise
114(4)
22 Exhibit under construction: Angels in America: seeing double
118(3)
23 Recapitulation #2: or toward the how of theater
121(6)
PART III From Sophocles' urn to Wittgenstein's box: theater and the engendering of fellow-feeling throughout the ages
127(70)
24 Brief introduction: theater's telos: the engendering of fellow-feeling
129(5)
25 The ancients
134(28)
26 The transition
162(9)
27 The moderns
171(15)
28 And now?
186(4)
29 Recapitulation #3: or toward the why of theater
190(4)
30 Final thoughts on fellow-feeling and the meaning of theater
194(3)
Index 197
Brian Kulick was the Artistic Director of Classic Stage Company and former Artistic Associate at The Public Theatre. He has staged the works of Shakespeare, Brecht, and Tony Kushner. He teaches theater directing at Columbia Universitys School of the Arts with Anne Bogart.