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Modern Drama and the Rhetoric of Theater.

By: Worthen, W. B.
Material type: TextTextSeries: eBooks on Demand.Publisher: Berkeley : University of California Press, 2015Description: 1 online resource (241 p.).ISBN: 9780520963047.Subject(s): American drama -- 20th century -- History and criticism | English drama -- 20th century -- History and criticism | Theater -- English-speaking countries -- History -- 20th century | Theater -- Production and direction -- History -- 20th centuryGenre/Form: Electronic books.Additional physical formats: Print version:: Modern Drama and the Rhetoric of TheaterDDC classification: 822.9109 Online resources: Click here to view this ebook.
Contents:
Cover; Contents; Acknowledgments; Introduction; 1. Theater and the Scene of Vision; Chekhov's Camera: The Rhetoric of Stage Realism; Invisible Women: Problem Drama, 1890-1920; 2. Actors and Objects; Invisible Actors: O'Neill, the Method, and the Masks of ""Character""; Visible Scenes: American Realism and the Absent Audience; Empty Spaces and the Power of Privacy: Pinter, Shepard, and Bond; 3. Scripted Bodies: Poetic Theater; Poetic Theater and the Work of Acting; The Discipline of Speech: Yeats's Dance Drama; The Discipline of Performance: The Dance of Death and Murder in the Cathedral
The Discipline of the Text: Beckett's Theater4. Political Theater: Staging the Spectator; Transforming the Field of Theater; Breaking the Frame of History: Hitler Dances and The Churchill Play; History and the Frame of Genre: Laughter! and Poppy; Framing Gender: Cloud Nine and Fefu and Her Friends; Postscript: Sidi's Image: Theater and the Frame of Culture; Works Cited; Index; A; B; C; D; E; F; G; H; I; J; K; L; M; N; O; P; Q; R; S; T; U; V; W; Y; Z
Summary: The history of drama is typically viewed as a series of inert ""styles."" Tracing British and American stage drama from the 1880s onward, W. B. Worthen instead sees drama as the interplay of text, stage production, and audience.How are audiences manipulated? What makes drama meaningful? Worthen identifies three rhetorical strategies that distinguish an O'Neill play from a Yeats, or these two from a Brecht. Where realistic theater relies on the ""natural"" qualities of the stage scene, poetic theater uses the poet's word, the text, to control performance. Modern political theater, by contrast,
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Electronic Book UT Tyler Online
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PR736 (Browse shelf) http://uttyler.eblib.com/patron/FullRecord.aspx?p=1977558 Available EBL1977558

Cover; Contents; Acknowledgments; Introduction; 1. Theater and the Scene of Vision; Chekhov's Camera: The Rhetoric of Stage Realism; Invisible Women: Problem Drama, 1890-1920; 2. Actors and Objects; Invisible Actors: O'Neill, the Method, and the Masks of ""Character""; Visible Scenes: American Realism and the Absent Audience; Empty Spaces and the Power of Privacy: Pinter, Shepard, and Bond; 3. Scripted Bodies: Poetic Theater; Poetic Theater and the Work of Acting; The Discipline of Speech: Yeats's Dance Drama; The Discipline of Performance: The Dance of Death and Murder in the Cathedral

The Discipline of the Text: Beckett's Theater4. Political Theater: Staging the Spectator; Transforming the Field of Theater; Breaking the Frame of History: Hitler Dances and The Churchill Play; History and the Frame of Genre: Laughter! and Poppy; Framing Gender: Cloud Nine and Fefu and Her Friends; Postscript: Sidi's Image: Theater and the Frame of Culture; Works Cited; Index; A; B; C; D; E; F; G; H; I; J; K; L; M; N; O; P; Q; R; S; T; U; V; W; Y; Z

The history of drama is typically viewed as a series of inert ""styles."" Tracing British and American stage drama from the 1880s onward, W. B. Worthen instead sees drama as the interplay of text, stage production, and audience.How are audiences manipulated? What makes drama meaningful? Worthen identifies three rhetorical strategies that distinguish an O'Neill play from a Yeats, or these two from a Brecht. Where realistic theater relies on the ""natural"" qualities of the stage scene, poetic theater uses the poet's word, the text, to control performance. Modern political theater, by contrast,

Description based upon print version of record.

Reviews provided by Syndetics

CHOICE Review

A tidy, critically correct reading of the staging of the audience as constructed subject-object within the theater's rhetorical process of production and performative self-regard. The rhetoricity of acting and realistic, poetic, and political drama is discussed as an analog to mise-en-sc`ene. However, the argument passes directly from the world of the play text to the audience's reception of the text as theater, without ample regard for the presence of a stage or of history as something more and other than an ideology or idea. Worthen demonstrates how Victorian social problem plays; mask; historical, feminist and African drama; and English pantomime reinforce or correct the "hegemonic" cultural eye and voice of theatrically coded classism and ideological "imperialism." The author's generally astute analysis serves a progressively narrow and constricting theme which translates the living presence of an audience into a somewhat dry and lifeless idea. The book seems to envision and empower an audience of its own making and critical persuasion, so that the reader feels more conditionally included than challenged and engaged. Still, there is much here of thematic value.-S. Golub, Brown University

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