LEADER 04095nam 2200961 450 001 9910811792303321 005 20200520144314.0 010 $a0-520-96304-0 024 7 $a10.1525/9780520963047 035 $a(CKB)2670000000599076 035 $a(EBL)1977558 035 $a(SSID)ssj0000204308 035 $a(PQKBManifestationID)11199468 035 $a(PQKBTitleCode)TC0000204308 035 $a(PQKBWorkID)10189262 035 $a(PQKB)11734041 035 $a(DE-B1597)520526 035 $a(OCoLC)904425955 035 $a(DE-B1597)9780520963047 035 $a(Au-PeEL)EBL1977558 035 $a(CaPaEBR)ebr11025730 035 $a(CaONFJC)MIL734259 035 $a(MiAaPQ)EBC1977558 035 $a(EXLCZ)992670000000599076 100 $a20150310h19921992 uy 0 101 0 $aeng 135 $aur||#|||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aModern drama and the rhetoric of theater /$fW. B. Worthen 210 1$aBerkeley, California :$cUniversity of California Press,$d1992. 210 4$dİ1992 215 $a1 online resource (241 p.) 300 $aDescription based upon print version of record. 311 $a0-520-28687-1 311 $a1-336-02973-0 320 $aIncludes bibliographical references and index. 327 $tFront matter --$tContents --$tAcknowledgments --$tIntroduction --$t1. Theater and the Scene of Vision --$t2. Actors and Objects --$t3. Scripted Bodies: Poetic Theater --$t4. Political Theater: Staging the Spectator --$tPostscript. Sidi's Image: Theater and the Frame of Culture --$tWorks Cited --$tIndex 330 $aThe history of drama is typically viewed as a series of inert "styles." Tracing British and American stage drama from the 1880's 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. 606 $aEnglish drama$y20th century$xHistory and criticism 606 $aAmerican drama$y20th century$xHistory and criticism 606 $aTheater$xProduction and direction$xHistory$y20th century 606 $aTheater$zEnglish-speaking countries$xHistory$y20th century 610 $aamerican drama. 610 $aaudience. 610 $abrecht. 610 $abritish drama. 610 $adrama. 610 $aliterary criticism. 610 $amodern theater. 610 $aoneill. 610 $aperformance. 610 $aperforming arts. 610 $aplays. 610 $aplaywright. 610 $apoetic theater. 610 $apolitical theater. 610 $apostwar drama. 610 $arealistic theater. 610 $arhetoric. 610 $aspectator. 610 $astage drama. 610 $astage production. 610 $astage. 610 $astaging. 610 $atheater criticism. 610 $atheater history. 610 $atheater. 610 $ayeats. 615 0$aEnglish drama$xHistory and criticism. 615 0$aAmerican drama$xHistory and criticism. 615 0$aTheater$xProduction and direction$xHistory 615 0$aTheater$xHistory 676 $a822/.9109 700 $aWorthen$b William B.$f1955-$0620233 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910811792303321 996 $aModern drama and the rhetoric of theater$92697502 997 $aUNINA