On Drama: Boundaries of Genre, Borders of SelfUniversity of Michigan Press, 2000 - 134 Seiten The latest book by noted critic and scholar Michael Goldman provides fresh and unexpected insights into the role played by genre in the experience of drama. Challenging the view that genre is by definition exclusion, and that its policing of boundaries is out of place in the neighborhood of art, Michael Goldman suggests that the lens of genre can provide keen insights for our understanding and appreciation of drama. For Goldman, it is important to consider drama as an exper-ience, an ongoing moment-to-moment process for audiences or readers. Everything changes, says Goldman, when we stop to think of genre as not entirely unlike rhyme or ambiguity--features whose primary interest for readers or audiences is as something that happens to us in a poem or play, as it happens. It is valuable to see that--as it operates in drama--the instability of the subject of genre has a specific and unique texture, one that can offer useful insights into our experience as viewers of and participants in drama. In this light, discussions of genre can help us to understand what drama as a special kind of social practice does for and with our lives. It is important that we work toward understanding the process of thinking about drama in this light--that we understand the power and complexity of drama--and Michael Goldman aims to do so in this book. Michael Goldman is Professor of English, Princeton University. He is author of a number of books, including Acting and Action in Shakespearean Tragedy, Shakespeare and the Energies of Drama, Ibsen: The Dramaturgy of Fear, and The Actor's Freedom: Toward a Theory of Drama. |
Im Buch
Ergebnisse 1-3 von 8
Seite 34
... critics were incredibly sloppy when it came to tracing the development of film noir or even applying the term . Every example in their discussions seemed a little belated , a little contaminated by nongeneric elements ; Double Indemnity ...
... critics were incredibly sloppy when it came to tracing the development of film noir or even applying the term . Every example in their discussions seemed a little belated , a little contaminated by nongeneric elements ; Double Indemnity ...
Seite 59
... critics . Instead of anything so sharply determina- tive as we normally expect ( or think we expect ) of genre , we may , in responding to the play , simply recog- nize an attitude or mood being solicited from the audi- ence , a ...
... critics . Instead of anything so sharply determina- tive as we normally expect ( or think we expect ) of genre , we may , in responding to the play , simply recog- nize an attitude or mood being solicited from the audi- ence , a ...
Seite 122
... critics are , of course , aware , as Dubrow points out , that narrow and rigid definitions of genre are inadequate . But her book makes clear that , even when these writers acknowl- edge the looseness or approximateness of genre ...
... critics are , of course , aware , as Dubrow points out , that narrow and rigid definitions of genre are inadequate . But her book makes clear that , even when these writers acknowl- edge the looseness or approximateness of genre ...
Inhalt
Abschnitt 1 | 1 |
Abschnitt 2 | 8 |
Abschnitt 3 | 18 |
Urheberrecht | |
9 weitere Abschnitte werden nicht angezeigt.
Andere Ausgaben - Alle anzeigen
Häufige Begriffe und Wortgruppen
achieve acting action actor Admetus Agave Almodóvar's anguish Antigonus appear audience aware Baby New York Bacchae Beckett become begins Bergner bodily CADMUS Caryl Churchill characters child climax coherence comedy and tragedy comic complex course crisis of intimacy crisis of privacy dead Dionysus enter entry ethical Euripides example experience face fact fear feel film final flow function gestures Greek Hamlet Hamm Handke human Ibid idea of genre identification identity imagine intimate Kika kind Krapp's Krapp's Last Tape Lake Constance language Lévinas Listener lives lovers Marcade meaning modern drama mother movie Ohio Impromptu Pause Pentheus Perdita permeability Pinter play play's Poetics Aristotle question radical Reader recognition recognize response revenge revenge play Ride across Lake role scene script seems sense Shakespeare simply Spanish Tragedy speak speech Stroheim subtext suggests Tamburlaine tape textual theater theatrical performance there's tion tragic trans uncanny Winter's Tale York
Verweise auf dieses Buch
Representations of Death in Nineteenth-century US Writing and Culture Lucy Elizabeth Frank Eingeschränkte Leseprobe - 2007 |
Developing Zeami: The Noh Actor's Attunement In Practice Shelley Fenno Quinn Eingeschränkte Leseprobe - 2005 |