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Theater requires artifice, justice demands truth. Are these demands
as irreconcilable as the pejorative term "show trials" suggests?
After the Second World War, canonical directors and playwrights
sought to claim a new public role for theater by restaging the
era's great trials as shows. The Nuremberg trials, the Eichmann
trial, and the Auschwitz trials were all performed multiple times,
first in courts and then in theaters. Does justice require both
courtrooms and stages? In Staged, Minou Arjomand draws on a rich
archive of postwar German and American rehearsals and performances
to reveal how theater can become a place for forms of storytelling
and judgment that are inadmissible in a court of law but
indispensable for public life. She unveils the affinities between
dramatists like Bertolt Brecht, Erwin Piscator, and Peter Weiss and
philosophers such as Hannah Arendt and Walter Benjamin, showing how
they responded to the rise of fascism with a new politics of
performance. Linking performance with theories of aesthetics,
history, and politics, Arjomand argues that it is not subject
matter that makes theater political but rather the act of judging a
performance in the company of others. Staged weaves together
theater history and political philosophy into a powerful and timely
case for the importance of theaters as public institutions.
Erika Fischer-Lichte's introduction to the discipline of Theatre
and Performance Studies is a strikingly authoritative and wide
ranging guide to the study of theatre in all of its forms. Its
three-part structure moves from the first steps in starting to
think about performance, through to the diverse and interrelated
concerns required of higher-level study: Part 1 - Central Concepts
for Theatre and Performance Research - introduces the language and
key ideas that are used to discuss and think about theatre:
concepts of performance; the emergence of meaning; and the
theatrical event as an experience shared by actors and spectators.
Part 1 contextualizes these concepts by tracing the history of
Theatre and Performance Studies as a discipline. Part 2 - Fields,
Theories and Methods - looks at how to analyse a performance and
how to conduct theatre-historiographical research. This section is
concerned with the 'doing' of Theatre and Performance Studies:
establishing and understanding different methodological approaches;
using sources effectively; and building theoretical frameworks.
Part 3 - Pushing Boundaries - expands on the lessons of Parts 1 and
2 in order to engage with theatre and performance in a global
context. Part 3 introduces the concept of 'interweaving performance
cultures'; explores the interrelation of theatre with the other
arts; and develops a transformative aesthetics of performance. Case
studies throughout the book root its theoretical discussion in
theatrical practice. Focused accounts of plays, practitioners and
performances map the development of Theatre and Performance Studies
as an academic discipline, and of the theatre itself as an art
form. This is the most comprehensive and sophisticated introduction
to the field available, written by one of its foremost scholars.
Erika Fischer-Lichte's introduction to the discipline of Theatre
and Performance Studies is a strikingly authoritative and wide
ranging guide to the study of theatre in all of its forms. Its
three-part structure moves from the first steps in starting to
think about performance, through to the diverse and interrelated
concerns required of higher-level study: Part 1 - Central Concepts
for Theatre and Performance Research - introduces the language and
key ideas that are used to discuss and think about theatre:
concepts of performance; the emergence of meaning; and the
theatrical event as an experience shared by actors and spectators.
Part 1 contextualizes these concepts by tracing the history of
Theatre and Performance Studies as a discipline. Part 2 - Fields,
Theories and Methods - looks at how to analyse a performance and
how to conduct theatre-historiographical research. This section is
concerned with the 'doing' of Theatre and Performance Studies:
establishing and understanding different methodological approaches;
using sources effectively; and building theoretical frameworks.
Part 3 - Pushing Boundaries - expands on the lessons of Parts 1 and
2 in order to engage with theatre and performance in a global
context. Part 3 introduces the concept of 'interweaving performance
cultures'; explores the interrelation of theatre with the other
arts; and develops a transformative aesthetics of performance. Case
studies throughout the book root its theoretical discussion in
theatrical practice. Focused accounts of plays, practitioners and
performances map the development of Theatre and Performance Studies
as an academic discipline, and of the theatre itself as an art
form. This is the most comprehensive and sophisticated introduction
to the field available, written by one of its foremost scholars.
Theater requires artifice, justice demands truth. Are these demands
as irreconcilable as the pejorative term "show trials" suggests?
After the Second World War, canonical directors and playwrights
sought to claim a new public role for theater by restaging the
era's great trials as shows. The Nuremberg trials, the Eichmann
trial, and the Auschwitz trials were all performed multiple times,
first in courts and then in theaters. Does justice require both
courtrooms and stages? In Staged, Minou Arjomand draws on a rich
archive of postwar German and American rehearsals and performances
to reveal how theater can become a place for forms of storytelling
and judgment that are inadmissible in a court of law but
indispensable for public life. She unveils the affinities between
dramatists like Bertolt Brecht, Erwin Piscator, and Peter Weiss and
philosophers such as Hannah Arendt and Walter Benjamin, showing how
they responded to the rise of fascism with a new politics of
performance. Linking performance with theories of aesthetics,
history, and politics, Arjomand argues that it is not subject
matter that makes theater political but rather the act of judging a
performance in the company of others. Staged weaves together
theater history and political philosophy into a powerful and timely
case for the importance of theaters as public institutions.
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