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Record Nr. |
UNINA9910819827803321 |
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Autore |
Rokem Freddie |
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Titolo |
Performing History [[electronic resource] ] : Theatrical Representations of the Past in Contemporary Theatre |
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Pubbl/distr/stampa |
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Iowa City, : University of Iowa Press, 2002 |
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ISBN |
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Descrizione fisica |
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1 online resource (257 p.) |
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Collana |
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Studies Theatre Hist & Culture |
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Disciplina |
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Soggetti |
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France -- History -- Revolution, 1789-1799 -- Literature and the revolution |
Historical drama -- 20th century -- History and criticism |
Holocaust, Jewish (1939-1945), in literature |
Historical drama - History and criticism - 20th century |
Drama |
Music, Dance, Drama & Film |
France History Revolution, 1789-1799 Literature and the revolution |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Note generali |
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Description based upon print version of record. |
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Nota di contenuto |
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Preface; Introduction The Notions of "Performing History"; Refractions of the Shoah on Israeli Stages Theatre and Survival; The Theatrical Modes of Israeli Shoah Performances; Yehoshua Sobol, ""Ghetto""; Dudu Ma'ayan, ""Arbeit macht frei vom Toitland Europa""; Hanoch Levin, ""The Boy Dreams""; Three European Productions about the French Revolution; Peter Brook, ""Marat/Sade""; Ariane Mnouchkine, ""1789""; Ingmar Bergman, ""Madame de Sade""; Three American Productions of ""Danton's Death""; Büchner's Play and Its Beholders; The Production Qualities; The Individualized Crowd; The Execution |
Theatrical EnergiesTextual Energies; From Textual to Performative Energies; Performance Energies; The Eavesdropper and the Survivor-Witness; Metaphysical Energies; Epilogue; Notes; Bibliography; Index |
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Sommario/riassunto |
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In his examination of the ways in which theatre participates in the ongoing representations of and debates about the past, Freddie Rokem concentrates on the ways in which theatre after World War II has |
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presented different aspects of the French Revolution and the Holocaust, showing us that by "performing history" actors bring the historical past and the theatrical present together. |
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