Titlebook: Losing It; Staging the Cultural Dorothy Chansky Book 2023 The Editor(s) (if applicable) and The Author(s), under exclusive license to Sprin

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Blemish

高度表

Bodies in the Audience/Bodies Onstage: Intersectionalitiesis limited? While all studies of American audiences for over a century (but especially after the 1960s) depict playgoers as “educated,” this often denotes university degrees and income brackets but leaves untouched any particular investment in or understanding of the public sphere. How theatregoers

Ornament

Walk-On: s four women and is billed as a comedy, was a favorite among Little Theatres of the 1910s and into the 1920s; it also enjoyed productions across a seventy-plus-year span. This chapter explores the cultural assumptions and dramaturgical workings that made it a success in its day and goes on to consid

Infect

MOCK

上漲

From the Insiders whose awareness is intact, even in the face of impaired memory or speech function. Stroke is the second most common cause of dementia (after Alzheimer’s Disease). Arthur Kopit’s 1978 . depicts the effects of a stroke on a seventy-something former wingwalker (an aerial performer barnstorming in th

LAPSE

Inside (and) Out: “Who Exactly Am I?”—is troubled by the increasingly kaleidoscopic perceptions of its protagonist, whose grip on what is too often unproblematically called “reality” is shifting, as reflected in changing scenery and characters who may or may not be the people the main character says they are. In other words, not only pe

Perennial長期的

encomiast

Family Affairsmily is African American and .’s is secular Jewish. Both plays ran in New York in 2015 and . has had many revivals in other American cities into the 2020s. . foregrounds the role of embodiment in achieving empathy; . suggests that “accuracy” regarding the past is not the only function that memory se