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 ix
... duction to the book itself . History is an organization of time : " An insight : in one hour's time , sixty minutes will have passed , " says Danton in Georg Büchner's Danton's Death . The question is : How will this " insight " be ...
... duction to the book itself . History is an organization of time : " An insight : in one hour's time , sixty minutes will have passed , " says Danton in Georg Büchner's Danton's Death . The question is : How will this " insight " be ...
Seite 4
... The third European example dealing with the French Revolution , Ingmar Bergman's Swedish pro- duction of Yukio Mishima's play Madame de Sade in 1989 , the year of the revolutionary bicentennial, has not yet been extensively analyzed in.
... The third European example dealing with the French Revolution , Ingmar Bergman's Swedish pro- duction of Yukio Mishima's play Madame de Sade in 1989 , the year of the revolutionary bicentennial, has not yet been extensively analyzed in.
Seite 5
... duction not only deserves attention in itself, but also adds a very sig- nificant contribution to the complex theatrical responses to the Shoah on Israeli stages. This study attempts not only to examine how these two seminal historical ...
... duction not only deserves attention in itself, but also adds a very sig- nificant contribution to the complex theatrical responses to the Shoah on Israeli stages. This study attempts not only to examine how these two seminal historical ...
Seite 55
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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