Titlebook: Early-Twentieth-Century Frontier Dramas on Broadway; Situating the Wester Richard Wattenberg Book 2011 Palgrave Macmillan, a division of Na

EXALT

Discipline and Spontaneity: Clyde Fitch’s , and Augustus Thomas’s ,rn discourse to which Turner, Roosevelt, Wister, and Remington were key contributors provides a context within which the frontier visions presented in plays like Clyde Fitch’s . (1899), Augustus Thomas’s . (1900), Frederic Remington and Louis Evan Shipman’s . (1903), and Owen Wister and Kirke La She

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走路左晃右晃

,1973 – Geschichte einer numerischen Gr??e,d syntax set the parameters of theater representation, they can be seen as the distinguishing elements of what we might call “theater discourse.” Late-nineteenth-century frontier western drama should be understood, then, as the product of what Stephen Greenblatt referred to as a complex cultural “ne

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2947-5767 mas not only indicate the popularity of these plays but also tell us that these plays offered views about the frontier that original audiences could and did embrace.978-1-349-29376-6978-0-230-11914-7Series ISSN 2947-5767 Series E-ISSN 2947-5775

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Palgrave Studies in Theatre and Performance Historyhttp://image.papertrans.cn/e/image/300825.jpg

escalate

,Didaktische und methodische überlegungen,ch source of narrative material. Frontier themes and motifs have been a primary focus especially for Euro-American artists and writers in search of a distinctly American experience. Even as events associated with the settlement of the western frontier have slipped further and further into the past,

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,1973 – Geschichte einer numerischen Gr??e,ormed when it entered the theater. As a mode of representation, or (re) presentation, the theater production process inevitably impresses itself on the material with which it deals. In other words, the theater does not function as a transparent window through which either the actual frontier western