標(biāo)題: Titlebook: After In-Yer-Face Theatre; Remnants of a Theatr William C. Boles Book 2020 The Editor(s) (if applicable) and The Author(s), under exclusive [打印本頁] 作者: Nutraceutical 時間: 2025-3-21 16:26
書目名稱After In-Yer-Face Theatre影響因子(影響力)
作者: septicemia 時間: 2025-3-22 00:03 作者: 大約冬季 時間: 2025-3-22 01:02
“A Shop Window for Outrage”: Harold Pinter’s ,, In-Yer Face Theatre and the Royal Court’s 1996 West unch the English Stage Company’s (ESC) residency in the West End while its Sloane Square home underwent major renovation. Lasting from 1996 until 2000 the residency coincided with the high-water mark of In-Yer Face theater, where work including Mark Ravenhill’s . (1996) and Sarah Kane’s . (1998) sha作者: Ringworm 時間: 2025-3-22 08:36
“The Last Rolo”: Love, Conflict and War in Anthony Neilson’s se analysis of Anthony Neilson’s 1993 play .. While the play is ostensibly a provocative, vicious account of misogyny and male violence, Newberry reads characterization through the lens of Eve Sedgewick’s understanding of the homosocial bond and the cementing of ties made in childhood. Exploring the作者: 最后一個 時間: 2025-3-22 09:30
Mark Ravenhill’s Dialectical Emotions: In-Yer-Face as Post-Brechtian Theaterennium, but also of dialectical aesthetics as inspired by Bertolt Brecht. Drawing on Mark Ravenhill’s ., Hartl proposes a metatheatrical reading to show how the play engages with the question of the forms and functions of Brechtian theater against the background of an experience of ambivalence and u作者: Kindle 時間: 2025-3-22 15:00
Undressing Sarah Kane: A Portuguese Perspective on In-Yer-Facey . carried out regarding ., ., . and ., as well as Nuno Cardoso’s production of ., this chapter relates Sarah Kane’s oeuvre to the Portuguese historical and cultural context. In addition, besides examining how critics reacted to the performances and staged readings, it also explores the impact said作者: FLOAT 時間: 2025-3-22 18:11 作者: 六邊形 時間: 2025-3-22 21:49 作者: 外表讀作 時間: 2025-3-23 02:33
The Hidden Dialogue Between Sarah Kane and Edward Bond: The Dramaturgy of Accident Time and Ethical he relationship between Kane’s and Bond’s early work, Chen argues that Kane’s plays resonate more with Bond’s later theory of subjectivity and dramaturgy. Through exploring this neglected connection, this chapter clarifies the logic behind Bond’s appreciation of Kane and sheds new light on Kane as a作者: meditation 時間: 2025-3-23 05:38
From “In-Yer-Face” to “In-Yer-Head”: Staging the Mind in Martin Crimp, Sarah Kane, and Anthony Neils in British drama, where our tendency to live inside our heads is explored in the context of late capitalist society. She first studies the innovative dramatic forms and modalities of this postmodern “psychopoetics” of the stage obsessed with indeterminacy, instability, and uncertainty, and shows ho作者: evanescent 時間: 2025-3-23 11:17
Philip Ridley: Still In-Yer-Face’s unsparing dramaturgy makes the case for him as the most In-Yer-Face playwright today. From the 1990s to the present (including the infamous .), his plays combine sex, violence, and shock in order to disturb audiences while advancing a surprisingly humanist agenda. The other great paradox of Ridle作者: 心痛 時間: 2025-3-23 16:30 作者: 凈禮 時間: 2025-3-23 20:16 作者: MENT 時間: 2025-3-24 01:54
“Experiential, not speculative”: Love In and After In-Yer-Faceuses on “directness” and “experientiality” as its most characteristic features. Rather than the mere presence of shocking scenes, the argument runs, it is the underlying attempt to address the audience not so much on a cognitive but primarily on a pre-discursive and affective level that defines In-Y作者: Popcorn 時間: 2025-3-24 03:53
The Echo Chamber: Theater in a “Post-Truth” Worldich, by the mid-nineties, had been overthrown by the postmodern skepticism that defined the era. He considers key contemporary debates surrounding postmodernity in order to examine the specific status of “truth” and “authenticity” within the surge of verbatim theater practice that followed the new w作者: CREST 時間: 2025-3-24 07:25
Crime, Justice and Social Democracynd what the play might have to say to modern-day audiences, Newberry examines alternative themes of love, tenderness and male/male desire and the ways in which these have traditionally been misread through the discourse of toxic masculinity.作者: 詞匯表 時間: 2025-3-24 14:03
The Criminal: Myth and Reality,matic works, examining their unique style and structure within the context of the In-Yer-Face aesthetic. Oldham makes a case for this underappreciated artist as perhaps the last true In-Yer-Face writer.作者: Abjure 時間: 2025-3-24 17:30 作者: Anticoagulants 時間: 2025-3-24 21:05 作者: Entreaty 時間: 2025-3-25 00:15 作者: BROTH 時間: 2025-3-25 05:59 作者: GOUGE 時間: 2025-3-25 11:32
Crime, Justice and Social Democracy in existing scholarship. Holden, therefore, assesses the ways in which the YPT sourced and developed a new generation of playwrights which ultimately supported the Court in the realization and implementation of its vision.作者: boisterous 時間: 2025-3-25 12:56 作者: mosque 時間: 2025-3-25 18:18
Heng Choon (Oliver) Chan,Samuel Adjorlolo oeuvre had on the audience. This chapter concludes with a brief analysis of the repercussion the work of Sarah Kane had on the Portuguese artistic landscape and questions whether or not it would make sense to return to it almost twenty years later.作者: Neutral-Spine 時間: 2025-3-25 22:01 作者: 投射 時間: 2025-3-26 02:42 作者: graphy 時間: 2025-3-26 05:38 作者: 宮殿般 時間: 2025-3-26 08:29 作者: largesse 時間: 2025-3-26 13:03
The Criminal: Myth and Reality,two styles of storytelling impact the possibilities for healing or recuperation? Whilst the traditional dialogic form used in . (2000) lends itself to a traditional Aristotelian resolution, the direct address of . (2013) and . (2015) results in a more problematic ending for both protagonist and audience.作者: 休戰(zhàn) 時間: 2025-3-26 19:12 作者: Virtues 時間: 2025-3-26 23:05
Metamorphosis, Trickster and Werewolfer-Face theatre. Its combination of comparatively plain, declarative language with gripping stage images asks for direct perception rather than comprehension or interpretation. This “aesthetics of directness” is made visible by comparing the treatment of love in Ravenhill’s . and Kane’s . on the one hand with that in Dennis Kelly’s . on the other.作者: nominal 時間: 2025-3-27 01:53 作者: Chameleon 時間: 2025-3-27 08:52 作者: hallow 時間: 2025-3-27 12:04 作者: 轎車 時間: 2025-3-27 14:49 作者: 發(fā)現(xiàn) 時間: 2025-3-27 20:37 作者: Introvert 時間: 2025-3-27 23:24
Introduction: Reflections on In-Yer-Face from the Other Side of the Atlantic,hile the In-Yer-Face movement may be over, the influence from it continues to permeate mainstream culture, and he cites the post-In-Yer-Face careers of Jez Butterworth, Martin McDonagh, and Joe Penhall as examples of this point. Rather than being In-Yer-Face, they have now become “Part-of-the-Crowd.”作者: 初學(xué)者 時間: 2025-3-28 05:15 作者: 表狀態(tài) 時間: 2025-3-28 09:41 作者: champaign 時間: 2025-3-28 12:47 作者: 按等級 時間: 2025-3-28 15:54
Russian “In-Yer-Face Theatre” as a Problem or a ProcessThe influence of British drama on contemporary Russian theater process and the reception of Ravenhill’s plays in Russia will also be considered..“New Drama” in the Russian theater is a movement from the last two decades, formed in the late 1990s and became highly prolific at the start of the millennium.作者: Harbor 時間: 2025-3-28 19:25 作者: Allergic 時間: 2025-3-29 02:31 作者: 抗生素 時間: 2025-3-29 05:12
From “In-Yer-Face” to “In-Yer-Head”: Staging the Mind in Martin Crimp, Sarah Kane, and Anthony Neilsw the dramatic space has become a mental space. Looking at Martin Crimp’s ., Sarah Kane’s ., and Anthony Neilson’s ., Ayache then uses the concepts of absence and dissociation to suggest that the staging of vanishing female characters and their troubled mindscapes reflects the anxieties of our times.作者: 攝取 時間: 2025-3-29 08:35
Tales from the East End: Dialogic and Confessional Storytelling as Therapy (?) in the Plays of Philitwo styles of storytelling impact the possibilities for healing or recuperation? Whilst the traditional dialogic form used in . (2000) lends itself to a traditional Aristotelian resolution, the direct address of . (2013) and . (2015) results in a more problematic ending for both protagonist and audience.作者: DEI 時間: 2025-3-29 14:44
Joe Penhall’s Fatherhood Plays: Escaping the Influence of Sam Shepard and the Lad, Penhall writes about a father who embraces all feminine roles in the family, including giving birth to a child. Through both plays Penhall, a father himself, relies on the staging of fatherhood as a new inspiration in his writing, finally banishing elements from the In-Yer-Face movement from his canon.作者: 是限制 時間: 2025-3-29 19:00
“Experiential, not speculative”: Love In and After In-Yer-Faceer-Face theatre. Its combination of comparatively plain, declarative language with gripping stage images asks for direct perception rather than comprehension or interpretation. This “aesthetics of directness” is made visible by comparing the treatment of love in Ravenhill’s . and Kane’s . on the one hand with that in Dennis Kelly’s . on the other.作者: Palpable 時間: 2025-3-29 20:50
The Echo Chamber: Theater in a “Post-Truth” Worldriting renaissance in the United Kingdom. The analysis examines the ways verbatim dramaturgies locate and expand definitions of those contested terms, in an attempt to reposition them within the cautious framing of current “post-truth” theories.作者: sclera 時間: 2025-3-30 00:05 作者: 壕溝 時間: 2025-3-30 06:48 作者: Indebted 時間: 2025-3-30 10:42
Crime, Justice and Social Democracyctly challenge the vision of the past and dramatically augment the number of plays in production at the theater. Although the theater’s own grassroots initiative, the Young Peoples’ Theatre (YPT), was central to the Court’s ability to sustain this policy, its contribution has been largely overlooked作者: 占卜者 時間: 2025-3-30 12:32
Social Change in the Australian Judiciaryunch the English Stage Company’s (ESC) residency in the West End while its Sloane Square home underwent major renovation. Lasting from 1996 until 2000 the residency coincided with the high-water mark of In-Yer Face theater, where work including Mark Ravenhill’s . (1996) and Sarah Kane’s . (1998) sha作者: 嘲笑 時間: 2025-3-30 17:35 作者: START 時間: 2025-3-30 23:31 作者: 發(fā)酵 時間: 2025-3-31 04:19
