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This collection gathers a set of provocative essays that sketch
innovative and interdisciplinary approaches to Genre Theory in the
21st century. Focusing on the interaction between tragedy and
comedy, both renowned and emerging scholarly and creative voices
from philosophy, theatre, literature, and cultural studies come
together to engage in dialogues that reconfigure genre as social,
communal, and affective. In revisiting the challenges to aesthetic
categorization over the course of the 20th century, this volume
proposes a shift away from the prescriptive and hierarchical
reading of genre to its crucial function in shaping thought and
enabling shared experience and communication. In doing so, the
various essays acknowledge the diverse contexts within which genre
needs to be thought afresh: media studies, rhetoric, politics,
performance, and philosophy.
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.
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