A Cultural History of Theatre in the Modern Age pdf epub mobi txt 電子書 下載2025
- 劇場研究
- Kim_Solga
- Theatre History
- Cultural History
- Modern Theatre
- Performance Studies
- Drama
- 20th Century Theatre
- 21st Century Theatre
- Arts & Humanities
- Cultural Studies
- History of the Arts
具體描述
To call something modern is to assert something fundamental about the social, cultural, economic and technical sophistication of that thing, over and against what has come before. A Cultural History of Theatre in the Modern Age provides an interdisciplinary overview of theatre and performance in their social and material contexts from the late 19th century through the early 2000s, emphasizing key developments and trends that both exemplify and trouble the various meanings of the term 'modern', and the identity of modernist theatre and performance.
Highly illustrated with 40 images, the ten chapters each take a different theme as their focus: institutional frameworks; social functions; sexuality and gender; the environment of theatre; circulation; interpretations; communities of production; repertoire and genres; technologies of performance; and knowledge transmission.
著者簡介
Kim Solga is Professor of Theatre Studies and English and Writing Studies at Western University, Canada. Her books include A Cultural History of Theatre in The Modern Age (Methuen Drama, 2017), Theatre & Feminism (2015), Performance and the City (2009) and Performance and the Global City (2013), which together won the 2016 ATHE prize for Excellence in Editing, and Violence Against Women in Early Modern Performance (2009). She writes the teaching blog The Activist Classroom, available from Wordpress.
圖書目錄
Notes on Contributors
Series Preface
Editor's Acknowledgements
Introduction: The Impossible Modern Age
Kim Solga, Western University, Canada
1 Institutional Frameworks: Theatre, State, and Market in Modern Urban Performance
Michael McKinnie, Queen Mary University of London, UK
2 Social Functions: Consumers and Producers
Nicholas Ridout, Queen Mary University of London, UK
3 Sexuality and Gender: New Stories and New Spaces on the Modern Stage
Kirsten Pullen, Texas A&M University, USA
4 The Environment of Theatre: 'Home' in the Modern Age
Kim Solga, Western University, Canada and Joanne Tompkins, The University of Queensland, Australia
5 Circulations: Visual Sovereignty, Transmotion, and Tribalography
Jill Carter, University of Tornoto, Canada, Heather Davis-Fisch,University of the Fraser Valley, USA and Ric Knowles, University of Guelph, Canada
6 Interpretations: The Stakes of Audience Interpretation in Twentieth-Century Political Theatre
Dassia N. Posner, Northwestern University, USA
7 Communities of Production: A Materialist Reading with an Offstage View
Christin Essin,Vanderbilt University, USA and Marlis Schweitzer, York University, Canada
8 Genres and Repertoires: Redressing the Nation in Ireland and Japan
Michelle Liu Carriger,University of California, Los Angeles , USA and Aoife Monks, Queen Mary University of London, UK
9 Technologies of Performance: Machinic Staging and Corporeal Choreographies
Ashley Ferro-Murray, University of California, Berkeley, USA and Timothy Murray, Cornell University, USA
10 Knowledge Transmission: Media and Memory
Sarah Bay-Cheng, Bowdoin College, USA
Notes
Bibliography
Index
· · · · · · (收起)
讀後感
評分
評分
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用戶評價
戲劇既反體製又為體製所限；打破戲劇現代性暗含的地緣等級和進步觀念，及娛樂消遣僅是工作的變體，以論壇劇作為解決方案，麵嚮生産者而非消費者；性彆的戲劇呈現，不管邊緣或主流，激進或保守，深櫃或齣櫃，都同演齣空間息息相關；現代戲劇為「傢」所睏，透露齣這個既熟悉又陌生的環境中，暗藏的弗洛伊德式詭秘；身體與技術互相抵牾、摺衝甚至拓展對方的可能性，從有機造型術到無演員演齣，從現場藝術到虛擬現實，構成一條反饋迴路；用服裝身體重新界定文類和劇目，而葉芝的僞能劇演繹，證明身份認同從來取決於跨國協商；從鼕宮前的革命景觀到布景間手工藝人再到時代廣場的吉祥物錶演，基於社群的戲劇工作總是蘊含激進潛能；觀演關係散點化；原住民藝人在富有侵略性的攝影機前重申視覺主權，書寫部落誌，越界流通；《剋拉普的最後碟帶》是第一根自拍杆。
评分戲劇既反體製又為體製所限；打破戲劇現代性暗含的地緣等級和進步觀念，及娛樂消遣僅是工作的變體，以論壇劇作為解決方案，麵嚮生産者而非消費者；性彆的戲劇呈現，不管邊緣或主流，激進或保守，深櫃或齣櫃，都同演齣空間息息相關；現代戲劇為「傢」所睏，透露齣這個既熟悉又陌生的環境中，暗藏的弗洛伊德式詭秘；身體與技術互相抵牾、摺衝甚至拓展對方的可能性，從有機造型術到無演員演齣，從現場藝術到虛擬現實，構成一條反饋迴路；用服裝身體重新界定文類和劇目，而葉芝的僞能劇演繹，證明身份認同從來取決於跨國協商；從鼕宮前的革命景觀到布景間手工藝人再到時代廣場的吉祥物錶演，基於社群的戲劇工作總是蘊含激進潛能；觀演關係散點化；原住民藝人在富有侵略性的攝影機前重申視覺主權，書寫部落誌，越界流通；《剋拉普的最後碟帶》是第一根自拍杆。
评分戲劇既反體製又為體製所限；打破戲劇現代性暗含的地緣等級和進步觀念，及娛樂消遣僅是工作的變體，以論壇劇作為解決方案，麵嚮生産者而非消費者；性彆的戲劇呈現，不管邊緣或主流，激進或保守，深櫃或齣櫃，都同演齣空間息息相關；現代戲劇為「傢」所睏，透露齣這個既熟悉又陌生的環境中，暗藏的弗洛伊德式詭秘；身體與技術互相抵牾、摺衝甚至拓展對方的可能性，從有機造型術到無演員演齣，從現場藝術到虛擬現實，構成一條反饋迴路；用服裝身體重新界定文類和劇目，而葉芝的僞能劇演繹，證明身份認同從來取決於跨國協商；從鼕宮前的革命景觀到布景間手工藝人再到時代廣場的吉祥物錶演，基於社群的戲劇工作總是蘊含激進潛能；觀演關係散點化；原住民藝人在富有侵略性的攝影機前重申視覺主權，書寫部落誌，越界流通；《剋拉普的最後碟帶》是第一根自拍杆。
评分戲劇既反體製又為體製所限；打破戲劇現代性暗含的地緣等級和進步觀念，及娛樂消遣僅是工作的變體，以論壇劇作為解決方案，麵嚮生産者而非消費者；性彆的戲劇呈現，不管邊緣或主流，激進或保守，深櫃或齣櫃，都同演齣空間息息相關；現代戲劇為「傢」所睏，透露齣這個既熟悉又陌生的環境中，暗藏的弗洛伊德式詭秘；身體與技術互相抵牾、摺衝甚至拓展對方的可能性，從有機造型術到無演員演齣，從現場藝術到虛擬現實，構成一條反饋迴路；用服裝身體重新界定文類和劇目，而葉芝的僞能劇演繹，證明身份認同從來取決於跨國協商；從鼕宮前的革命景觀到布景間手工藝人再到時代廣場的吉祥物錶演，基於社群的戲劇工作總是蘊含激進潛能；觀演關係散點化；原住民藝人在富有侵略性的攝影機前重申視覺主權，書寫部落誌，越界流通；《剋拉普的最後碟帶》是第一根自拍杆。
评分戲劇既反體製又為體製所限；打破戲劇現代性暗含的地緣等級和進步觀念，及娛樂消遣僅是工作的變體，以論壇劇作為解決方案，麵嚮生産者而非消費者；性彆的戲劇呈現，不管邊緣或主流，激進或保守，深櫃或齣櫃，都同演齣空間息息相關；現代戲劇為「傢」所睏，透露齣這個既熟悉又陌生的環境中，暗藏的弗洛伊德式詭秘；身體與技術互相抵牾、摺衝甚至拓展對方的可能性，從有機造型術到無演員演齣，從現場藝術到虛擬現實，構成一條反饋迴路；用服裝身體重新界定文類和劇目，而葉芝的僞能劇演繹，證明身份認同從來取決於跨國協商；從鼕宮前的革命景觀到布景間手工藝人再到時代廣場的吉祥物錶演，基於社群的戲劇工作總是蘊含激進潛能；觀演關係散點化；原住民藝人在富有侵略性的攝影機前重申視覺主權，書寫部落誌，越界流通；《剋拉普的最後碟帶》是第一根自拍杆。
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