Past Performance: American Theatre and the Historical ImaginationBucknell University Press, 2007 - 287 Seiten In this age of overweening global capital and omnipresent electronic media, many critics have diagnosed Western culture as suffering from a kind of historical obliviousness, a mass inability to situate our lived experience within the temporal flow of past, present, and future that is history. Within this historically bankrupt culture, representations of history in whatever medium - cinema, television, print - most often become mere fashion, the quotation of past styles devoid of historical gravitas. Against this, Past Performance: American Theatre and the Historical Imagination argues that many contemporary American theatre and performance artists are not only developing innovative strategies for staging history, but helping us reimagine our relationship with the past. |
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Seite 24
... gives us an immediate clue as to why the theatrical image might be especially well suited to help us " seize " the past . Inherent in Benjamin's statement , along with the importance of the image per se , are two distinct conditions ...
... gives us an immediate clue as to why the theatrical image might be especially well suited to help us " seize " the past . Inherent in Benjamin's statement , along with the importance of the image per se , are two distinct conditions ...
Seite 25
... gives the image its particu- lar historical valence . In other words , ephemerality carries the temporal charge of the historical image , and compels the specta- tor to apprehend the image as occupying a different historical moment from ...
... gives the image its particu- lar historical valence . In other words , ephemerality carries the temporal charge of the historical image , and compels the specta- tor to apprehend the image as occupying a different historical moment from ...
Seite 26
... gives theatre its own uniquely " historical " existence , making it a temporal mirror of ( as well as a favorite ... give it passing attention in the chapters that follow . Still , it is important to note Freddie Ro- kem's work on this ...
... gives theatre its own uniquely " historical " existence , making it a temporal mirror of ( as well as a favorite ... give it passing attention in the chapters that follow . Still , it is important to note Freddie Ro- kem's work on this ...
Seite 27
... give rise to the history effect , whereas , for example , the character of Ethel Rosenberg in Angels in America ... gives us a different experience of history , each asks us to think our relationship with history in a different way ...
... give rise to the history effect , whereas , for example , the character of Ethel Rosenberg in Angels in America ... gives us a different experience of history , each asks us to think our relationship with history in a different way ...
Seite 40
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Inhalt
7 | |
11 | |
15 | |
The Ends of History A Cultural and Theoretical Backdrop | 37 |
Remembering JFK Dead Kennedys and Traumatic History | 68 |
A Kind of Painful Progress Angels in America and Progressive History | 102 |
Brutus Jones n the Hood The Provincetown Players The Wooster Group and Theatrical History | 128 |
H M in the USA Hamletmachine and Allegorical History | 168 |
At First Sight SuzanLori Parkss Venus and Erotic History | 208 |
The Day after the Day Time Stopped | 244 |
Notes | 249 |
Bibliography | 270 |
Index | 282 |
Andere Ausgaben - Alle anzeigen
Past Performance: American Theatre and the Historical Imagination Roger Bechtel Keine Leseprobe verfügbar - 2007 |
Häufige Begriffe und Wortgruppen
action actors actual aesthetic allegorical allows American Angels appear argues attempt Baron Docteur becomes begins Benjamin body calls claims collective construction course critical cultural death desire dialectical drama effect Emperor Jones essay example existence experience face fact figure finally force function gaze gives Group Hamlet Hamletmachine idea identity imagination important John Kennedy kind language least live Marty Marxism material meaning memory Michigan mode moment Müller narrative nature never notes O'Neill object particular past performance perhaps play political postmodern precisely present Press production progress Provincetown question reference relation relationship remains repetition representation resistance scene seems sense simply social space specific stage story symbolic temporal theatre theatrical theory tion trauma turn understanding University University Press Venus Wooster Group writes York
Beliebte Passagen
Seite 111 - Only that historian will have the gift of fanning the spark of hope in the past who is firmly convinced that even the dead will not be safe from the enemy if he wins.
Seite 174 - Whereas in the symbol destruction is idealized and the transfigured face of nature is fleetingly revealed in the light of redemption, in allegory the observer is confronted with the fades hippocratica of history as a petrified, primordial landscape. Everything about history that, from the very beginning, has been untimely, sorrowful, unsuccessful, is expressed in a face— or rather in a death's head. And although such a thing lacks all "symbolic...
Seite 114 - Messianic cessation of happening, or, put differently, a revolutionary chance in the fight for the oppressed past. He takes cognizance of it in order to blast a specific era out of the homogeneous course of history - blasting a specific life out of the era or a specific work out of the lifework.
Seite 44 - What has happened is that aesthetic production today has become integrated into commodity production generally: the frantic economic urgency of producing fresh waves of ever more novel-seeming goods (from clothing to airplanes), at ever greater rates of turnover, now assigns an increasingly essential structural function and position to aesthetic innovation and experimentation.
Seite 108 - Where we perceive a chain of events, he sees one single catastrophe which keeps piling wreckage upon wreckage and hurls it in front of his feet. The angel would like to stay, awaken the dead, and make whole what has been smashed. But a storm is blowing from Paradise; it has got caught in his wings with such violence that the angel can no longer close them. This storm irresistibly propels him into the future to which his back is turned, while the pile of debris before him grows skyward. This storm...
Seite 173 - If the object becomes allegorical under the gaze of melancholy, if melancholy causes life to flow out of it and it remains behind dead, but eternally secure, then it is exposed to the allegorist, it is unconditionally in his power. That is to say it is now quite incapable of emanating any meaning or significance of its own; such significance as it has, it acquires from the allegorist.
Seite 19 - In other words we must drop our habit of taking the different social structures of past periods, then stripping them of everything that makes them different; so that they all look more or less like our own, which then acquires from this process a certain air of having been there all along, in other words of permanence pure and simple. Instead we must leave them their distinguishing marks and keep their impermanence always before our eyes, so that our own period can be seen to be impermanent too.
Seite 113 - Where thinking suddenly stops in a configuration pregnant with tensions, it gives that configuration a shock, by which it crystallizes into a monad. A historical materialist approaches a historical subject only where he encounters it as a monad.
Seite 107 - His face is turned toward the past. Where we perceive a chain of events, he sees one single catastrophe which keeps piling wreckage upon wreckage and hurls it in front of his feet. The angel would like to stay, awaken the dead, and make whole what has been smashed.