LEADER 04303nam 2200685 450 001 9910828543503321 005 20230124192959.0 010 $a0-231-53892-8 024 7 $a10.7312/shep16470 035 $a(CKB)3710000000362785 035 $a(CaPaEBR)ebrary11022447 035 $a(SSID)ssj0001441828 035 $a(PQKBManifestationID)12558444 035 $a(PQKBTitleCode)TC0001441828 035 $a(PQKBWorkID)11412843 035 $a(PQKB)11030733 035 $a(StDuBDS)EDZ0001133101 035 $a(MiAaPQ)EBC1985511 035 $a(DE-B1597)458501 035 $a(OCoLC)904425647 035 $a(OCoLC)979880152 035 $a(DE-B1597)9780231538923 035 $a(Au-PeEL)EBL1985511 035 $a(CaPaEBR)ebr11022447 035 $a(CaONFJC)MIL734595 035 $a(EXLCZ)993710000000362785 100 $a20150310h20152015 uy 0 101 0 $aeng 135 $aur||||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aTheatre and evolution from Ibsen to Beckett /$fKirsten E. Shepherd-Barr ; cover design, Noah Arlow 210 1$aNew York, [New York] :$cColumbia University Press,$d2015. 210 4$dİ2015 215 $a1 online resource (397 p.) 300 $aIncludes index. 311 $a1-336-03309-6 311 $a0-231-16470-X 320 $aIncludes bibliographical references and index. 327 $tFront matter --$tContents --$tPreface --$tAcknowledgments --$tIntroduction --$t1. "I'm Evolving!": Birds, Beasts, and Parodies --$t2. Confronting the Serious Side --$t3. "On the Contrary!": Ibsen's Evolutionary Vision --$t4. "Ugly . . . but Irresistible": Maternal Instinct on Stage --$t5. Edwardians and Eugenicists --$t6. Reproductive Issues --$t7. Midcentury American Engagements with Evolution --$t8. Beckett's "Old Muckball" --$tEpilogue: Staging the Anthropocene --$tNotes --$tIndex 330 $aEvolutionary theory made its stage debut as early as the 1840's, reflecting a scientific advancement that was fast changing the world. Tracing this development in dozens of mainstream European and American plays, as well as in circus, vaudeville, pantomime, and "missing link" performances, Theatre and Evolution from Ibsen to Beckett reveals the deep, transformative entanglement among science, art, and culture in modern times. The stage proved to be no mere handmaiden to evolutionary science, though, often resisting and altering the ideas at its core. Many dramatists cast suspicion on the arguments of evolutionary theory and rejected its claims, even as they entertained its thrilling possibilities. Engaging directly with the relation of science and culture, this book considers the influence of not only Darwin but also Lamarck, Chambers, Spencer, Wallace, Haeckel, de Vries, and other evolutionists on 150 years of theater. It shares significant new insights into the work of Ibsen, Shaw, Wilder, and Beckett, and writes female playwrights, such as Susan Glaspell and Elizabeth Baker, into the theatrical record, unpacking their dramatic explorations of biological determinism, gender essentialism, the maternal instinct, and the "cult of motherhood. "It is likely that more people encountered evolution at the theater than through any other art form in the late nineteenth and early twentieth centuries. Considering the liveliness and immediacy of the theater and its reliance on a diverse community of spectators and the power that entails, this book is a key text for grasping the extent of the public's adaptation to the new theory and the legacy of its representation on the perceived legitimacy (or illegitimacy) of scientific work. 606 $aScience and the arts$xHistory 606 $aTheater and society$xHistory 606 $aEvolution (Biology) 606 $aScience$xSocial aspects$xHistory 615 0$aScience and the arts$xHistory. 615 0$aTheater and society$xHistory. 615 0$aEvolution (Biology) 615 0$aScience$xSocial aspects$xHistory. 676 $a700.1/05 700 $aShepherd-Barr$b Kirsten$f1966-$01652576 702 $aArlow$b Noah 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910828543503321 996 $aTheatre and evolution from Ibsen to Beckett$94003323 997 $aUNINA