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[null,"1.","Record Nr.",null,"UNINA9910793133303321"]
[null,null,"Autore",null,"Tomlin Liz"]
[null,null,"Titolo",null,"Acts and apparitions : Discourses on the real in performance practice and theory, 1990–2010 / / Liz Tomlin"]
[null,null,"Pubbl/distr/stampa",null,"Manchester, England : , : Manchester University Press, , 2013"]
[null,null,"ISBN",null,"1-5261-3074-2"]
[null,null,"Descrizione fisica",null,"1 online resource (241 pages)"]
[null,null,"Disciplina",null,"792.02/8"]
[null,null,"Soggetti",null,"Authors and theater"]
[{"$nulls":4},"Theater and philosophy"]
[{"$nulls":4},"Realism"]
[{"$nulls":4},"Theater - History - 21st century"]
[{"$nulls":4},"Theater - History - 20th century"]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,null,"Nota di bibliografia","Includes bibliographical references (pages 210-221) and index."]
[null,null,"Nota di contenuto",null,"Frontmatter -- Contents -- List of figures -- Acknowledgements -- Introduction -- Part I: The discursive act -- 1 Discourses of resistance: representation and the real in the twentieth-century avant-gardes -- 2 Deconstructing the postdramatic: questions of mimesis, authorship and representation -- Part II: Apparitions of the real -- 3 Quoting quotations: citational theory and contemporary characterisation -- 4 Representing the real: verbatim practice in a sceptical age -- 5 Re-membering the real: experiential challenges to the medium of theatrical representation -- 6 From spect-actor to corporate player: reconfigurations of twenty-first-century audiences -- Afterword -- References -- Index"]
[null,null,null,"Sommario/riassunto","Acts and apparitions examines how new performance practices from the 1990s to the present day have been driven by questions of the real and the ensuing political implications of the concept's rapidly disintegrating authority.This book departs significantly from existing scholarship on contemporary performance in its rejection of the dramatic/postdramatic binary and its interrogation of previous applications of Derridean poststructuralism to theatrical representation and notions of the real.It offers new perspectives on the political analysis of contemporary theatre and performance across a wide range of models from Forced Entertainment and the Wooster Group, to Roland Schimmelpfennig and Howard Barker; from verbatim theatre to "]
[{"$nulls":4},"audio tours and the interactive performances of Ontroerend Goed."]