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. |
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Seite 37
... sense , exactly at the point , that they are recognizable . ( " There's the border , just passed , of old - fashioned revenge drama , comedy , tragedy , domestic drama , Noh of Ghosts . " We have our keenest sense of that realm because ...
... sense , exactly at the point , that they are recognizable . ( " There's the border , just passed , of old - fashioned revenge drama , comedy , tragedy , domestic drama , Noh of Ghosts . " We have our keenest sense of that realm because ...
Seite 59
... sense of , the divided selves of drama - actor and audi- ence , script and performance , inside and out . When the Listener in Ohio Impromptu wishes to have a sentence read a second time , he knocks on the table that joins and divides ...
... sense of , the divided selves of drama - actor and audi- ence , script and performance , inside and out . When the Listener in Ohio Impromptu wishes to have a sentence read a second time , he knocks on the table that joins and divides ...
Seite 122
... sense of the subject lies . More important , it is not a direction that surfaces anywhere in her study of major trends , past and present , in the understanding of genre — nor is this due to any lack of comprehensiveness or fairness on ...
... sense of the subject lies . More important , it is not a direction that surfaces anywhere in her study of major trends , past and present , in the understanding of genre — nor is this due to any lack of comprehensiveness or fairness on ...
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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
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Developing Zeami: The Noh Actor's Attunement In Practice Shelley Fenno Quinn Eingeschränkte Leseprobe - 2005 |