Performing History: Theatrical Representations of the Past in Conetmporary TheatreUniversity of Iowa Press, 25.04.2002 - 256 Seiten In his examination of the ways in which theatre participates in the ongoing representations of and debates about the past, Freddie Rokem concentrates on the ways in which theatre after World War II has presented different aspects of the French Revolution and the Holocaust, showing us that by “performing history” actors bring the historical past and the theatrical present together. |
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... Berlin, which at least for me represents both the burden of the past and the possibility of a new beginning. On the basis of approximately a dozen specific performances, which occurred on three different continents, in Israel, in Europe ...
... Berlin, which at least for me represents both the burden of the past and the possibility of a new beginning. On the basis of approximately a dozen specific performances, which occurred on three different continents, in Israel, in Europe ...
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... Berlin . Except for the first U.S. Danton production , directed by Orson Welles in 1938 , all the productions examined here were produced af- ter the Second World War ; except for Danton's Death , all the dramatic texts were written ...
... Berlin . Except for the first U.S. Danton production , directed by Orson Welles in 1938 , all the productions examined here were produced af- ter the Second World War ; except for Danton's Death , all the dramatic texts were written ...
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... Berlin in 1984 (directed by Peter Zadek) and the National Theatre in London in 1989 (directed by Nicholas Heitner). It has also had more than forty university and school productions. The play has been published in two Hebrew editions ...
... Berlin in 1984 (directed by Peter Zadek) and the National Theatre in London in 1989 (directed by Nicholas Heitner). It has also had more than forty university and school productions. The play has been published in two Hebrew editions ...
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Inhalt
1 | |
27 | |
31 | |
38 | |
Dudu Maayan Arbeit macht frei vom Toitland Europa | 56 |
Hanoch Levin The Boy Dreams | 76 |
Three European Productions about the French Revolution | 99 |
Peter Brook MaratSade | 102 |
The Individualized Crowd | 170 |
The Execution | 179 |
Theatrical Energies | 187 |
Textual Energies | 192 |
From Textual to Performative Energies | 194 |
Performance Energies | 196 |
The Eavesdropper and the SurvivorWitness | 202 |
Metaphysical Energies | 206 |
Ariane Mnouchkine 1789 | 111 |
Ingmar Bergman Madame de Sade | 117 |
Three American Productions of Dantons Death | 135 |
Büchners Play and Its Beholders | 141 |
The Production Qualities | 162 |
Epilogue | 209 |
Notes | 217 |
Bibliography | 227 |
Index | 236 |
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Performing History: Theatrical Representations of the Past in Conetmporary ... Freddie Rokem Keine Leseprobe verfügbar - 2007 |
Häufige Begriffe und Wortgruppen
actors actress aesthetic Agneta Ekmanner Akko angel appear Arbeit macht frei aspects audience become Bergman Berlin Blau Blau's Boy Dreams Büchner's play characters clearly complex confront context Countess de Saint-Fond created Damiel Danton's Death directed director discourses doubt drama duction examined fantastic film formance frei vom Toitland French Revolution ghetto guillotine Habima Theatre Haifa Municipal Theatre Hanoch Hanoch Levin historian historical events historical past ideological Israeli Shoah Performances Jewish Jews kind Kittel Levin Madame de Sade mance Marat/Sade Marquis de Sade metatheatrical museum narrative Nazi notion of performing Palestinian performing history Peter Brook possible present production of Danton's Robespierre role Royal Dramatic Theatre scene Second World seems Selma Sobol social specific spectators Srulik stage Stina Ekblad survivor theatre performances Theatrical Energies threat Three American Productions Three European Productions tion Toitland Europa Tora shrine transformed victims Vilna ghetto Weiss Wilson witness York