This title was first published in 1988: In this book the author has translated five postwar experimental Japanese plays and recreated the artistic, social and spiritual milieu in which they were ...created. He describes the turning point in Japanese thinking about the nature and limitations of a Western-oriented modern culture, and the creation of "underground" theatres which in which evolved a new mythology of history. Professor Goodman sees these developments as an interplay between personal and political (ie revolutionary) salvation.
The first biographical dictionary in any Western language devoted solely to Chinese women, Biographical Dictionary of Chinese Women is the product of years of research, translation, and writing by scores of China scholars from around the world. Volume II: Twentieth Century includes a far greater range of women than would have been previously possible because of the enormous amount of historical material and scholarly research that has become available recently. They include scientists, businesswomen, sportswomen, military officers, writers, scholars, revolutionary heroines, politicians, musicians, opera stars, film stars, artists, educators, nuns, and more.
Romantic Tragedies Parker, Reeve
03/2011, Letnik:
v.Series Number 87
eBook
Troubled politically and personally, Wordsworth and Coleridge turned in 1797 to the London stage. Their tragedies, The Borderers and Osorio, were set in medieval Britain and early modern Spain to ...avoid the Lord Chamberlain's censorship. Drury Lane rejected both, but fifteen years later Coleridge's revision, Remorse, had spectacular success there, inspiring Shelley's 1819 Roman tragedy, The Cenci, aimed for Covent Garden. Reeve Parker makes a striking case for the power of these intertwined works, written against British hostility to French republican liberties and Regency repression of home-grown agitation. Covertly, Remorse and The Cenci also turn against Wordsworth. Stressing the significance of subtly repeated imagery and resonances with Virgil, Shakespeare, Racine, Jean-François Ducis and Schiller, Parker's close readings, which are boldly imaginative and decidedly untoward, argue that at the heart of these tragedies lie powerful dramatic uncertainties driven by unstable passions - what he calls, adapting Coleridge's phrase for sorcery, 'dark employments'.
Exploring theater practices in communist and post-communist Hungary, Romania and Bulgaria, this book analyzes intertextuality or “inter-theatricality” as a political strategy, designed to criticize ...contemporary political conditions while at the same time trying to circumvent censorship. In the Soviet bloc the theater of the absurd, experimentation, irony, and intertextual distancing (estrangement) were much more than mere aesthetic language games, but were planned political strategies that used indirection to say what could not be said directly.Plays by Romanian, Hungarian and Bulgarian dramatists are examined, who are “retrofitting” the past by adapting the political crimes and horrifying tactics of totalitarianism to the classical theatre (with Shakespeare a favorite) to reveal the region’s traumatic history. By the sustained analysis of the aesthetic devices used as political tools, Orlich makes a very strong case for the continued relevance of the theater as one of the subtlest media in the public sphere. She embeds her close readings in a thorough historical analysis and displays a profound knowledge of the political role of theater history.
Identified only in 1986, the Nahuatl Holy Week play is the earliest known dramatic script in any Native American language. InHoly Wednesday, Louise Burkhart presents side-by-side English translations ...of the Nahuatl play and its Spanish source. An accompanying commentary analyzes the differences between the two versions to reveal how the native author altered the Spanish text to fit his own aesthetic sensibility and the broader discursive universe of the Nahua church. A richly detailed introduction places both works and their creators within the cultural and political contexts of late sixteenth-century Mexico and Spain.
InDr. Faustus, Christopher Marlowe wrote a profoundly religious drama despite the theater's newfound secularism and his own reputation for anti-Christian irreverence.The Aesthetics of ...Antichristexplores this apparent paradox by suggesting that, long before Marlowe, Christian drama and ritual performance had reveled in staging the collapse of Christianity into its historical opponents-paganism, Judaism, worldliness, heresy. By embracing this tradition, Marlowe's work would at once demonstrate the theatricality inhering in Christian worship and, unexpectedly, resacralize the commercial theater.
The Antichrist myth in particular tells of an impostor turned prophet: performing Christ's life, he reduces the godhead to a special effect yet in so doing foretells the real second coming. Medieval audiences, as well as Marlowe's, could evidently enjoy the constant confusion between true Christianity and its empty look-alikes for that very reason: mimetic degradation anticipated some final, as yet deferred revelation. Mere theater was a necessary prelude to redemption. The versions of the myth we find in Marlowe and earlier drama actually approximate, John Parker argues, a premodern theory of the redemptive effect of dramatic representation itself. Crossing the divide between medieval and Renaissance theater while drawing heavily on New Testament scholarship, Patristics, and research into the apocrypha,The Aesthetics of Antichristproposes a wholesale rereading of pre-Shakespearean drama.
This is my body Kobialka, Michal Andrzej
1999., 20091222, 1999, c1999.
eBook
The recipient of the annual Award for Outstanding Book in Theatre Practice and Pedagogy from the Association for Theatre in Higher Education, This Is My Body realigns representational practices in ...the early Middle Ages with current debates on the nature of representation. Michal Kobialkai's study views the medieval concept of representation as having been in flux and crossed by different modes of seeing, until it was stabilized by the constitutions of the Fourth Lateran Council in 1215. Kobialka argues that the concept of representation in the early Middle Ages had little to do with the tradition that considers representation in terms of Aristotle or Plato; rather, it was enshrined in the interpretation of Hoc est corpus meum This is my body—the words spoken by Christ to the apostles at the Last Supper—and in establishing the visibility of the body of Christ that had disappeared from view.
The comic playwright Menander was one of the most popular writers throughout antiquity. This book reconstructs his life and the legacy of his work until the end of antiquity employing a broad range ...of sources such as portraits, illustrations of his plays, papyri preserving their texts and inscriptions recording their public performances. These are placed within the context of the three social and cultural institutions which appropriated his comedy, thereby ensuring its survival: public theatres, dinner parties and schools. Dr Nervegna carefully reconstructs how each context approached Menander's drama and how it contributed to its popularity over the centuries. The resultant, highly illustrated, book will be essential for all scholars and students not just of Menander's comedy but, more broadly, of the history and iconography of the ancient theatre, ancient social history and reception studies.
Referencing early modern English play texts alongside contemporary records, accounts and statutes, this study offers an overdue assessment of the relationship between the dramatic efforts of the ...universities and early modern male identity. Taking into account the near single-sex constitution of early modern universities, the book argues that performances of university plays, and student responses to them, were key ways of exploring and shaping early modern masculinity.
En 1871, en medio de los debates sobre el establecimiento de la ópera española, Guillermo Morphy, el Conde de Morphy, publica un artículo de fondo en el que acomete un modelo de drama lírico nacional ...vinculado a la tradición musical centroeuropea. Su proposición constituye un paso adelante hacia el drama lírico moderno que otorgara a España un sitio en la escena musical europea. Este trabajo recupera el movimiento de renovación dentro del nacionalismo musical liderado por el Conde de Morphy durante la Restauración borbónica, con importantes avances en la escena culta musical española. Con este propósito, nos aproximamos a la actividad regeneracionista y crítica musical de Morphy y su influencia en aquellos compositores que estuvieron más unidos a su figura como Tomás Bretón, Pablo Casals e Isaac Albéniz, poniendo el foco de atención en la cuestión de la ópera española como señal de identidad nacional. Recogemos asimismo una relación de los artículos publicados por Morphy en la prensa.
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