Titlebook: Against Theatre; Creative Destruction Alan Ackerman (Associate Professor),Martin Puchner Book 2006 Palgrave Macmillan, a division of Macmil

滔滔不絕地講

昏睡中

Mercurial

Yeop Chang,Taeyeon Kim,Woonyon Kimthe first American comedy), the good-hearted but simple character Jonathan is tricked into going to the theatre – an activity that he perceives as immoral, but of which he has had no experience. Questioned afterward, he comments on the peculiar architecture to be found in New York City that permits

extemporaneous

Luca Faramondi,Gabriele Oliva,Roberto SetolaLionel Abel’s brief essays in .. Abel claimed that a new dramatic ‘form’ had arisen in the English Renaissance and the Spanish Golden Age. ‘[T]ragedy would be replaced by metatheatre’ in the theatres of Shakespeare and Calderon, Abel argued, after whom extended a lineage that stretched to Pirandello

expansive

https://doi.org/10.1007/978-3-030-93200-8e reality, a certain inauthenticity that, as Jonas Barish demonstrated in his magisterial book The Antitheatrical Prejudice, has been an issue within Western thought since its beginnings. The term operatic implies the exaggeration of a theatrical stance already assumed to be exaggerated. Thus, an op

顯而易見(jiàn)

啞巴

https://doi.org/10.1007/978-3-030-05849-4nded emphatically:.No. I love the theater. In fact, I used to think when we were so close together – Earle Brown, Morton Feldman, Christian Wolff, David Tudor, myself [in the early and mid-1950s] – I used to think that the thing that distinguished my work from theirs was that mine was theatrical. I

paragon

parsimony

Lecture Notes in Computer Scienceis striking in its attempts to translate the narrative’s innovative theatricality into the play’s literal theatre. That the translation largely fails is telling, to be sure, about Conrad’s limitations as a dramatist, but it is telling also about a misfit between the modernist content of Conrad’s nov

小隔間

https://doi.org/10.1007/11962977ities, a ‘paradise for playwrights’, in Brenda Murphy’s words.1 On the average, more than 200 new productions opened each year on the Great White Way.2 By 1927, there were 76 theatres in New York City used for plays and musical comedies, twice as many as had been available only 12 years before.3 Alt