This revolutionary introductory performance studies coursebook brings together classic texts in critical theory and shows how these texts can be used in the analysis of performance.
This revolutionary introductory performance studies coursebook brings together classic texts in critical theory and shows how these texts can be used in the analysis of performance.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Colin Counsell is based at The University of North London. Laurie Wolf is Assistant Professor for Theatre at The College of William and Mary, Virginia, USA.
Inhaltsangabe
Preface Acknowledgements Part 1: Decoding The Artefact 1.1 The Sign 1.2 Myth 1.3 Structure 1.4 The Frame Part 2: The Politics of Performance 2.1 Ideology 2.2 Epic Theatre 2.3 The Postmodern Avant-Garde Part 3: Performing Gender and Sexual Identity 3.1 Constructing Gender 1: The Property Model 3.2 Constructing Gender II: The Culture/Nature Model 3.3 The Drag Act 3.4 Gestic Criticism 3.5 Acting Camp Part 4: Performing Ethnicity 4.1 The Other 4.2 Blackface 4.3 The Resisting Viewer 4.4 Orality Part 5: The Performing Body 5.1 Political Bodies 5.2 Moving Bodies 5.3 Transgressive Bodies 5.4 The Body Adorned Part 6: The Space of Performance 6.1 Enacting Space 6.2 Locus & Platea 6.3 Environmental Space Part 7: Spectator & Audience 7.1 The Interactive Spectator 7.2 The Gaze 7.3 Structure of Feeling Part 8: At the Borders of Performance 8.1 Lininal and Liminoid 8.2 The Pageant 8.3 Carnival 8.4 Deep Play Part 9: Analysing Performance.
Preface Acknowledgements Part 1: Decoding The Artefact 1.1 The Sign 1.2 Myth 1.3 Structure 1.4 The Frame Part 2: The Politics of Performance 2.1 Ideology 2.2 Epic Theatre 2.3 The Postmodern Avant-Garde Part 3: Performing Gender and Sexual Identity 3.1 Constructing Gender 1: The Property Model 3.2 Constructing Gender II: The Culture/Nature Model 3.3 The Drag Act 3.4 Gestic Criticism 3.5 Acting Camp Part 4: Performing Ethnicity 4.1 The Other 4.2 Blackface 4.3 The Resisting Viewer 4.4 Orality Part 5: The Performing Body 5.1 Political Bodies 5.2 Moving Bodies 5.3 Transgressive Bodies 5.4 The Body Adorned Part 6: The Space of Performance 6.1 Enacting Space 6.2 Locus & Platea 6.3 Environmental Space Part 7: Spectator & Audience 7.1 The Interactive Spectator 7.2 The Gaze 7.3 Structure of Feeling Part 8: At the Borders of Performance 8.1 Lininal and Liminoid 8.2 The Pageant 8.3 Carnival 8.4 Deep Play Part 9: Analysing Performance.
Preface Acknowledgements Part 1: Decoding The Artefact 1.1 The Sign 1.2 Myth 1.3 Structure 1.4 The Frame Part 2: The Politics of Performance 2.1 Ideology 2.2 Epic Theatre 2.3 The Postmodern Avant-Garde Part 3: Performing Gender and Sexual Identity 3.1 Constructing Gender 1: The Property Model 3.2 Constructing Gender II: The Culture/Nature Model 3.3 The Drag Act 3.4 Gestic Criticism 3.5 Acting Camp Part 4: Performing Ethnicity 4.1 The Other 4.2 Blackface 4.3 The Resisting Viewer 4.4 Orality Part 5: The Performing Body 5.1 Political Bodies 5.2 Moving Bodies 5.3 Transgressive Bodies 5.4 The Body Adorned Part 6: The Space of Performance 6.1 Enacting Space 6.2 Locus & Platea 6.3 Environmental Space Part 7: Spectator & Audience 7.1 The Interactive Spectator 7.2 The Gaze 7.3 Structure of Feeling Part 8: At the Borders of Performance 8.1 Lininal and Liminoid 8.2 The Pageant 8.3 Carnival 8.4 Deep Play Part 9: Analysing Performance.
Preface Acknowledgements Part 1: Decoding The Artefact 1.1 The Sign 1.2 Myth 1.3 Structure 1.4 The Frame Part 2: The Politics of Performance 2.1 Ideology 2.2 Epic Theatre 2.3 The Postmodern Avant-Garde Part 3: Performing Gender and Sexual Identity 3.1 Constructing Gender 1: The Property Model 3.2 Constructing Gender II: The Culture/Nature Model 3.3 The Drag Act 3.4 Gestic Criticism 3.5 Acting Camp Part 4: Performing Ethnicity 4.1 The Other 4.2 Blackface 4.3 The Resisting Viewer 4.4 Orality Part 5: The Performing Body 5.1 Political Bodies 5.2 Moving Bodies 5.3 Transgressive Bodies 5.4 The Body Adorned Part 6: The Space of Performance 6.1 Enacting Space 6.2 Locus & Platea 6.3 Environmental Space Part 7: Spectator & Audience 7.1 The Interactive Spectator 7.2 The Gaze 7.3 Structure of Feeling Part 8: At the Borders of Performance 8.1 Lininal and Liminoid 8.2 The Pageant 8.3 Carnival 8.4 Deep Play Part 9: Analysing Performance.
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