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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Seite vii
... Three American Productions of Danton's Death , 135 Preface Quoting Histories ... Revolution is the mask of death. Büchner's Play and Its Beholders , 141 The Production Qualities , 162 The Individualized Crowd , 170 The Execution , 179 4 ...
... Three American Productions of Danton's Death , 135 Preface Quoting Histories ... Revolution is the mask of death. Büchner's Play and Its Beholders , 141 The Production Qualities , 162 The Individualized Crowd , 170 The Execution , 179 4 ...
Seite 2
... American culture and theatre which has drawn my atten- tion here ... three different continents, in Israel, in Europe, and in the United States ... productions, I do not mean to suggest that the Second World War has not deeply affected ...
... American culture and theatre which has drawn my atten- tion here ... three different continents, in Israel, in Europe, and in the United States ... productions, I do not mean to suggest that the Second World War has not deeply affected ...
Seite 4
... three American productions of Danton's Death , the first major ( and now classic ) drama written about the French Revolution . Georg Büchner completed this play in 1835 , less than fifty years after the events themselves - basically the ...
... three American productions of Danton's Death , the first major ( and now classic ) drama written about the French Revolution . Georg Büchner completed this play in 1835 , less than fifty years after the events themselves - basically the ...
Seite 134
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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