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Titlebook: Jean Genet: Performance and Politics; Clare Finburgh (Lecturer in Modern Drama),Carl Lav Book 2006 Palgrave Macmillan, a division of Macmi

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發(fā)表于 2025-3-21 17:53:11 | 只看該作者 |倒序?yàn)g覽 |閱讀模式
書(shū)目名稱Jean Genet: Performance and Politics
編輯Clare Finburgh (Lecturer in Modern Drama),Carl Lav
視頻videohttp://file.papertrans.cn/501/500777/500777.mp4
圖書(shū)封面Titlebook: Jean Genet: Performance and Politics;  Clare Finburgh (Lecturer in Modern Drama),Carl Lav Book 2006 Palgrave Macmillan, a division of Macmi
描述This is the first book to explore the broad political significance of Genet‘s performance practice by focusing on his radical experiments, polemical subjects and formal innovations in theatre, film and dance. Its new approach brings together the diverse aspects of Genet‘s work through essays by international scholars and interviews.
出版日期Book 2006
關(guān)鍵詞cinema; essay; film; stage; theatre
版次1
doihttps://doi.org/10.1057/9780230595439
isbn_softcover978-1-349-54447-9
isbn_ebook978-0-230-59543-9
copyrightPalgrave Macmillan, a division of Macmillan Publishers Limited 2006
The information of publication is updating

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發(fā)表于 2025-3-21 20:40:17 | 只看該作者
Genet’s , as Media Allegory. While . is not a political play in any simple sense, as Genet himself stressed in numerous comments, to divorce it from the specific context in which it was created and first performed obscures Genet’s particular notion of the political, and his unique conception of ‘political’ theatre.
板凳
發(fā)表于 2025-3-22 04:00:44 | 只看該作者
Reading , through the 1956 Preface: Politics and Betrayal [T]o process [Genet’s] radical insights into our own practice today … we have to find the courage to betray him imaginatively, not to disprove his politics and reject its anarchist affinities, but rather to test these affinities within the interruptions of the ‘real’ in the global terror of our tim
地板
發(fā)表于 2025-3-22 07:24:57 | 只看該作者
Theatre in a Graveyard: Site-based Performance and the Revolution of Everyday Lifea revolution which strives to liberate the subject spatially and temporally by replacing Thanatos (the death drive) with Eros (the life force). I do this by concentrating on ‘That Strange Word …’, a theoretical essay in which Genet sketches out his plans for a site-based production for his last play
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發(fā)表于 2025-3-22 11:10:32 | 只看該作者
Dancing the Impossible: Kazuo Ohno, Lindsay Kemp and ,g queen tragedian. Just as Genet’s Divine moves between ‘he’ and ‘she’ in ., so Kemp and Ohno redeploy masculinity and femininity in their dances, presenting an androgynous subject who refuses stable gender identities..
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發(fā)表于 2025-3-22 13:32:19 | 只看該作者
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發(fā)表于 2025-3-22 19:29:27 | 只看該作者
, Genet and Spainf the production, the means to liberate all the other actors, unique among performers in ‘playing with her whole body, with her whole voice. She squats like an Arab woman, contorts like a gypsy woman, barks like a dog’ (1966, p. 38).
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發(fā)表于 2025-3-22 23:35:55 | 只看該作者
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發(fā)表于 2025-3-23 04:52:43 | 只看該作者
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發(fā)表于 2025-3-23 09:20:30 | 只看該作者
e are unable to find a metrology for prescriptive decision paradigms. As a result, we developed a metrology and measurement instrument. To our knowledge . We invite scholars to research this subject and add to the body of knowledge of metrology in the praxis of decision theory.
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