How do the ethical implications of writing theatrical histories complicate the historiographical imperative in our current sociopolitical context? This volume investigates a historiography whose function is to be a mode of thinking and exposes the inner contradictions in social and ideological organizations of historical subjects.
How do the ethical implications of writing theatrical histories complicate the historiographical imperative in our current sociopolitical context? This volume investigates a historiography whose function is to be a mode of thinking and exposes the inner contradictions in social and ideological organizations of historical subjects.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Kelly Aliano, Graduate School, CUNY, USA Patricia Ybarra, Brown University, USA Yael Zarhy-Levo, Tel Aviv University, Israel Angenette Spalink, Bowling Green State University, USA Scott Magelssen, University of Washington, USA Patricia Badir, University of British Columbia, Canada Pannill Camp, Washington University in St. Louis, USA Kaitlin McNally-Murphy, New York University, USA Will Daddario, University of Minnesota, USA Jan Lazardzig, University of Chicago, USA Jon D. Rossini, University of California, Davis, USA Gwyneth Shanks, University of California, Los Angeles, USA
Inhaltsangabe
Introduction PART I: THE SPACE OF FORMATIONS 1. Performing Speciation: The Nature/Culture Divide at The Creation Museum; Angenette Spalink and Scott Magelssen 2. A Ridiculous Space: Considering the Historiography of the Theatre of the Ridiculous; Kelly Aliano 3. The Evolving Process of an Historical View: Aleks Sierz and British Theatre in the 1990s; Yael Zarhy-Levo 4. Latino/a dramaturgy as Historiography; Patricia Ybarra PART II: TEMPORAL MATTER 5. The Design of Theatrical Wonder in Roy Mitchell's The Chester Mysteries; Patricia Badir 6. Performing Ruhe: Police, Taste, and the Archive; Jan Lazardzig 7. The Materiality of Memory: Touching, Seeing, and Being the Past in Patricio Guzmán's Chile, Memoria Obstinada; Kaitlin McNally-Murphy PART III: MATERIAL SPACES 8. Adorno, Baroque, Gardens, Ruzzante: Rearranging Theatre Historiography; Will Daddario 9. A Critique of Historio-Scenography: Space and Time in Joseph-François-Louis Grobert's De l'exécution dramatique; Pannill Camp 10. The Ground of (Im)Potential: Historiography and the Earthquake; Gwyneth Shanks 11. Thinking the Space(s) of Historiography: Latina/o Ethnicity Theatre; Jon D. Rossini
Introduction PART I: THE SPACE OF FORMATIONS 1. Performing Speciation: The Nature/Culture Divide at The Creation Museum; Angenette Spalink and Scott Magelssen 2. A Ridiculous Space: Considering the Historiography of the Theatre of the Ridiculous; Kelly Aliano 3. The Evolving Process of an Historical View: Aleks Sierz and British Theatre in the 1990s; Yael Zarhy-Levo 4. Latino/a dramaturgy as Historiography; Patricia Ybarra PART II: TEMPORAL MATTER 5. The Design of Theatrical Wonder in Roy Mitchell's The Chester Mysteries; Patricia Badir 6. Performing Ruhe: Police, Taste, and the Archive; Jan Lazardzig 7. The Materiality of Memory: Touching, Seeing, and Being the Past in Patricio Guzmán's Chile, Memoria Obstinada; Kaitlin McNally-Murphy PART III: MATERIAL SPACES 8. Adorno, Baroque, Gardens, Ruzzante: Rearranging Theatre Historiography; Will Daddario 9. A Critique of Historio-Scenography: Space and Time in Joseph-François-Louis Grobert's De l'exécution dramatique; Pannill Camp 10. The Ground of (Im)Potential: Historiography and the Earthquake; Gwyneth Shanks 11. Thinking the Space(s) of Historiography: Latina/o Ethnicity Theatre; Jon D. Rossini
Introduction PART I: THE SPACE OF FORMATIONS 1. Performing Speciation: The Nature/Culture Divide at The Creation Museum; Angenette Spalink and Scott Magelssen 2. A Ridiculous Space: Considering the Historiography of the Theatre of the Ridiculous; Kelly Aliano 3. The Evolving Process of an Historical View: Aleks Sierz and British Theatre in the 1990s; Yael Zarhy-Levo 4. Latino/a dramaturgy as Historiography; Patricia Ybarra PART II: TEMPORAL MATTER 5. The Design of Theatrical Wonder in Roy Mitchell's The Chester Mysteries; Patricia Badir 6. Performing Ruhe: Police, Taste, and the Archive; Jan Lazardzig 7. The Materiality of Memory: Touching, Seeing, and Being the Past in Patricio Guzmán's Chile, Memoria Obstinada; Kaitlin McNally-Murphy PART III: MATERIAL SPACES 8. Adorno, Baroque, Gardens, Ruzzante: Rearranging Theatre Historiography; Will Daddario 9. A Critique of Historio-Scenography: Space and Time in Joseph-François-Louis Grobert's De l'exécution dramatique; Pannill Camp 10. The Ground of (Im)Potential: Historiography and the Earthquake; Gwyneth Shanks 11. Thinking the Space(s) of Historiography: Latina/o Ethnicity Theatre; Jon D. Rossini
Introduction PART I: THE SPACE OF FORMATIONS 1. Performing Speciation: The Nature/Culture Divide at The Creation Museum; Angenette Spalink and Scott Magelssen 2. A Ridiculous Space: Considering the Historiography of the Theatre of the Ridiculous; Kelly Aliano 3. The Evolving Process of an Historical View: Aleks Sierz and British Theatre in the 1990s; Yael Zarhy-Levo 4. Latino/a dramaturgy as Historiography; Patricia Ybarra PART II: TEMPORAL MATTER 5. The Design of Theatrical Wonder in Roy Mitchell's The Chester Mysteries; Patricia Badir 6. Performing Ruhe: Police, Taste, and the Archive; Jan Lazardzig 7. The Materiality of Memory: Touching, Seeing, and Being the Past in Patricio Guzmán's Chile, Memoria Obstinada; Kaitlin McNally-Murphy PART III: MATERIAL SPACES 8. Adorno, Baroque, Gardens, Ruzzante: Rearranging Theatre Historiography; Will Daddario 9. A Critique of Historio-Scenography: Space and Time in Joseph-François-Louis Grobert's De l'exécution dramatique; Pannill Camp 10. The Ground of (Im)Potential: Historiography and the Earthquake; Gwyneth Shanks 11. Thinking the Space(s) of Historiography: Latina/o Ethnicity Theatre; Jon D. Rossini
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