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The Death of Character af
"Extremely well written, and exceedingly well informed, this is a work that opens a variety of important questions in sophisticated and theoretically nuanced ways. It is hard to imagine a better tour guide than Fuchs for a trip through the last thirty years of, as she puts it, what we used to call the 'avant-garde.'" --Essays in Theatre "... an insightful set of theoretical 'takes' on how to think about theatre before and theatre after modernism." --Theatre Journal "In short, for those who never experienced a 'postmodern swoon,' Elinor Fuchs is an excellent informant." --Performing Arts Journal "... a thoughtful, highly readable contribution to the evolving literature on theatre and postmodernism." --Modern Drama "A work of bold theoretical ambition and exceptional critical intelligence.... Fuchs combines mastery of contemporary cultural theory with a long and full participation in American theater culture: the result is a long-needed, long-awaited elaboration of a new theatrical paradigm." --Una Chaudhuri, New York University "What makes this book exceptional is Fuchs' acute rehearsal of the stranger unnerving events of the last generation that have--in the cross-reflections of theory--determined our thinking about theater. She seems to have seen and absorbed them all." --Herbert Blau, Center for Twentieth Century Studies, University of Wisconsin, Milwaukee "Surveying the extraordinary scene of the postmodern American theater, Fuchs boldly frames key issues of subjectivity and performance with the keenest of critical eyes for the compelling image and the telling gesture." --Joseph Roach, Tulane University "... Fuchs makes an exceptionally lucid and eloquent case for the value and contradictions in postmodern theater." --Alice Rayner, Stanford University "Arguably the most accessible yet learned road map to what remains for many impenetrable territory...an obligatory addition to all academic libraries serving upper-division undertgraduates and above." --Choice "A systematic, comprehensive and historically-minded assessment of what, precisely, 'post-modern theatre' is, anyway." --American Theatre In this engrossing study, Elinor Fuchs explores the multiple worlds of theater after modernism. While The Death of Character engages contemporary cultural and aesthetic theory, Elinor Fuchs always speaks as an active theater critic. Nine of her Village Voice and American Theatre essays conclude the volume. They give an immediate, vivid account of contemporary theater and theatrical culture written from the front of rapid cultural change.
Theatre Histories: An Introduction. 3rd ed. af
This thoroughly revised and updated third edition of the innovative and widely acclaimed Theatre Histories: An Introduction offers a critical overview of global theatre and drama, spanning a broad wealth of world cultures and periods. Bringing together a group of scholars from a diverse range of backgrounds to add fresh perspectives on the history of global theatre, the book illustrates historiographical theories with case studies demonstrating various methods and interpretive approaches. Subtly restructured sections place the chapters within new thematic contexts to offer a clear overview of each period, while a revised chapter structure offers accessibility for students and instructors. Further new features and key updates to this third edition include: A dedicated chapter on historiography New, up to date, case studies Enhanced and reworked historical, cultural and political timelines, helping students to place each chapter within the historical context of the section Pronunciation guidance, both in the text and as an online audio guide, to aid the reader in accessing and internalizing unfamiliar terminology A new and updated companion website with further insights, activities and resources to enable students to further their knowledge and understanding of the theatre.
Straight Acting: Popular Gay Drama from Wilde to Rattigan af
Between the trials of Oscar Wilde in the 1890s and the beginnings of legal reforms in the 1960s, the West End stage was dominated by the work of gay playwrights. Many of their plays, such as Private Lives, Blithe Spirit and The Deep Blue Sea are established classics and continue to inform our culture. In this fascinating book, covering both familiar and lesser-known works, Sean O'Connor examines the legacy of Wilde as a playwright and as a gay man, and explores in the works of Somerset Maugham, Noel Coward and Terence Rattigan the resonance of Wilde's agenda for tolerance and his creed of individuality. O'Connor contextualises these plays against the enormous social and historical changes of the twentieth century. He also examines the legal restrictions which regulated the personal lives of these writers and required them to evolve sophisticated strategies in order to express on stage, albeit obliquely, their dilemmas as gay men. From the delicate homoerotic frissons of Rattigan's early comedies to Coward's defiantly pro-sex stance, Straight Acting is a provocative and witty insight into the subtly subversive tactics of gay writers working in that apparently most conservative of forms, the 'well-made play'.
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