Through a series of provocative readings of theatre theory and feminist performance Diamond demonstrates the continuing force of feminism and mimesis in critical thinking today.
Through a series of provocative readings of theatre theory and feminist performance Diamond demonstrates the continuing force of feminism and mimesis in critical thinking today.
Elin Diamond is Associate Professor of English at Rutgers University. Editor of Performance and Cultural Politics (Routledge) and author of Pinter's Comic Play, Elin Diamond has also published widely in a variety of performance journals.
Inhaltsangabe
Part One Unmaking Mimesis: 1. Introduction 2. Realism Hysteria: Disruption in the Theater of Knowledge i) Doleful Referents ii) Fallen Women: Medical Melodrama iii) Translation and the Hypnoid State iv) Realism's Hysteria v) Hysteria's Realism Part Two Gestic Feminist Criticism: 3. Brechtian Theory/Feminist Theory 4. Gestus, Signature, Body in the Theater of Aphra Behn i) The Apparatus ii) The Wife Thing iii) Disguise and Desire iv) Passionate Address/Gestric Undress v) Allegories of Authority 5. Churchill's Plays: The Gestus of Invisibility 6. Mimesis and Identification: Kennedy's Theater i) Funnyhouse of a Negro, The Owl Answers ii) Movie Star iii) Alexander Plays iv) People Who Led to My Plays 7. Performance and Temporality: Feminist Performance Art
Part One Unmaking Mimesis: 1. Introduction 2. Realism Hysteria: Disruption in the Theater of Knowledge i) Doleful Referents ii) Fallen Women: Medical Melodrama iii) Translation and the Hypnoid State iv) Realism's Hysteria v) Hysteria's Realism Part Two Gestic Feminist Criticism: 3. Brechtian Theory/Feminist Theory 4. Gestus, Signature, Body in the Theater of Aphra Behn i) The Apparatus ii) The Wife Thing iii) Disguise and Desire iv) Passionate Address/Gestric Undress v) Allegories of Authority 5. Churchill's Plays: The Gestus of Invisibility 6. Mimesis and Identification: Kennedy's Theater i) Funnyhouse of a Negro, The Owl Answers ii) Movie Star iii) Alexander Plays iv) People Who Led to My Plays 7. Performance and Temporality: Feminist Performance Art
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