A primary focus of this book is on the impact of time and memory
as they intersect and constitute the spaces of theatre. These
spaces include more traditional sites of theatre, such as those
involving stages and curtains, actors and audiences, as well as
those other theatres or spaces of performance that range from
performance and installation art, to the performance of a string
quartet, and from the writing of performance, to the performance of
writing. What unites them is the presence of time as the constant
and corrosive agent of theatrical absence, a vanishing site that
finally affirms these theatres as theatres of thought, as spaces of
thoughtful and mirroring reflection.
With such time in mind, attention is directed toward theatre's
own blurred and porous boundaries and, implicitly, that most
conventional theatrical form, the proscenium itself, evoking
questions such as: where does the performance begin and where does
it end? Who is watching and who is being watched? And what, as time
takes its toll, is there to be seen at all? For it is from this
demarcating line of representation that - like a 'line in the sand'
- such spaces of thought, theatrical or not, largely determine
where the various forms of representation begin and end, where time
is told of others, and where time is finally told of each of
us.
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