000			03708nam a22004453i 4500
001			EBC1977558
003			MiAaPQ
005			20240729123444.0
006			m o d |
007			cr cnu||||||||
008			240724s1991 xx o ||||0 eng d
020			_a9780520963047 _q(electronic bk.)
020			_z9780520286870
035			_a(MiAaPQ)EBC1977558
035			_a(Au-PeEL)EBL1977558
035			_a(CaPaEBR)ebr11025730
035			_a(CaONFJC)MIL734259
035			_a(OCoLC)904425955
040			_aMiAaPQ _beng _erda _epn _cMiAaPQ _dMiAaPQ
050		4	_aPR736 -- .W678 1992eb
082	0		_a822.9109
100	1		_aWorthen, W. B.
245	1	0	_aModern Drama and the Rhetoric of Theater.
250			_a1st ed.
264		1	_aBerkeley : _bUniversity of California Press, _c1991.
264		4	_c©1991.
300			_a1 online resource (261 pages)
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
505	0		_aCover -- Title -- Copyright -- Contents -- Acknowledgments -- Introduction -- 1. Theater and the Scene of Vision -- Chekhov's Camera: The Rhetoric of Stage Realism -- Invisible Women: Problem Drama, 1890-1920 -- 2. Actors and Objects -- Invisible Actors: O'Neill, the Method, and the Masks of "Character -- Visible Scenes: American Realism and the Absent Audience -- Empty Spaces and the Power of Privacy: Pinter, Shepard, and Bond -- 3. Scripted Bodies: Poetic Theater -- Poetic Theater and the Work of Acting -- The Discipline of Speech: Yeats's Dance Drama -- The Discipline of Performance: The Dance of Death and Murder in the Cathedral -- The Discipline of the Text: Beckett's Theater -- 4. Political Theater: Staging the Spectator -- Transforming the Field of Theater -- Breaking the Frame of History: Hitler Dances and The Churchill Play -- History and the Frame of Genre: Laughter! and Poppy -- Framing Gender: Cloud Nine and Fefu and Her Friends -- Postscript. Sidi's Image: Theater and the Frame of Culture -- Notes -- Works Cited -- Index.
520			_aThe history of drama is typically viewed as a series of inert "styles." Tracing British and American stage drama from the 1880s onward, W. B. Worthen instead sees drama as the interplay of text, stage production, and audience. How are audiences manipulated? What makes drama meaningful? Worthen identifies three rhetorical strategies that distinguish an O'Neill play from a Yeats, or these two from a Brecht. Where realistic theater relies on the "natural" qualities of the stage scene, poetic theater uses the poet's word, the text, to control performance. Modern political theater, by contrast, openly places the audience at the center of its rhetorical designs, and the drama of the postwar period is shown to develop a range of post-Brechtian practices that make the audience the subject of the play. Worthen's book deserves the attention of any literary critic or serious theatergoer interested in the relationship between modern drama and the spectator.
588			_aDescription based on publisher supplied metadata and other sources.
590			_aElectronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2024. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.
650		0	_aTheater - English-speaking countries - History - 20th century.
655		4	_aElectronic books.
776	0	8	_iPrint version: _aWorthen, W. B. _tModern Drama and the Rhetoric of Theater _dBerkeley : University of California Press,c1991 _z9780520286870
797	2		_aProQuest (Firm)
856	4	0	_uhttps://ebookcentral.proquest.com/lib/orpp/detail.action?docID=1977558 _zClick to View
999			_c47730 _d47730