By Zander Brietzke
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An anthology of severe writings that explores the intersections of race, theater, and function in the United States.
This ground-breaking anthology is the 1st to be devoted to assessing severely the position of the human sensorium in functionality. Senses in functionality offers a multifaceted method of the methodological, theoretical, sensible and historic demanding situations dealing with the student and the artist. This quantity examines the delicate activities of the human senses together with style, contact, odor and imaginative and prescient in all kinds of performances in Western and non-Western traditions, from ritual to theatre, from dance to interactive structure, from functionality artwork to ancient opera.
Various symbolic traditions have alternative ways of describing the shift of information towards sacred occasions. whereas no longer conforming to universal states of phenomenality, this shift of expertise corresponds to Turner's liminal part, Artaud's metaphysical embodiment, Grotowski's 'translumination,' Brook's 'holy theater,' and Barba's 'transcendent' theater - all of that are associated with the Advaitan flavor of a void of conceptions.
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Additional resources for American Drama in the Age of Film
At the end of the play, Drummond, having lost the case as a formality, but essentially having won the argument and carried the day, remarks, “The Bible is a book. A good book. But it’s not the only book” (123). In his ﬁnal gesture, Drummond takes both books in hand, the Bible and The Origin of Species, and balances them as though they were weights upon a scale. Then, he slams them together and tucks them both side by side into his briefcase. There is no need to discard Aristotle. His curse on us is not that his work endures, but rather that it often seems to exist alone.
In The Open Door, he writes, “If all you do is place two people side by side in an empty space, each detail comes into focus. For me, this is the great difference between theatre in its essential form and cinema. With cinema, because of the realistic nature of photography, a person is always in a context, never a person outside a context” (31). An ideal theatrical performance isolates the human ﬁgure, Brook intimates, and strips away the trappings of the mundane world. By making the familiar strange, as the Russian formalists said, an audience sees itself anew and emerges from the darkened theater refreshed and ready to meet the harsh light of day.
The importance of drama today pales compared to Renaissance drama of the sixteenth and seventeenth centuries. If Shakespeare represents the zenith of dramatic accomplishment (and few could doubt it), why didn’t subsequent writers copy his art? Instead, the rise of the novel in the eighteenth and nineteenth centuries eclipsed the drama and theater as a dominant form. It is not by accident that a narrative and descriptive genre ascended to prominence at the precise moment that societies were becoming more democratic and less aristocratic and the heterogeneity of society needed full representation.
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