Modernist Disguise : : Masquerade in Modern Performance and Visual Culture / / Ron J. Popenhagen.

• Superior document: Title is part of eBook package: De Gruyter EBOOK PACKAGE COMPLETE 2022 English
• VerfasserIn: Popenhagen, Ron J.,
• Place / Publishing House: Edinburgh : : Edinburgh University Press, , [2022]; ©2021
• Year of Publication: 2022
• Language: English
• Series: Edinburgh Critical Studies in Modernism, Drama and Performance : ECSMDP
• Physical Description: 1 online resource (272 p.) :; 18 B/W illustrations
• Other title: Frontmatter --; CONTENTS --; ILLUSTRATIONS --; SERIES EDITOR’S PREFACE --; ACKNOWLEDGEMENTS --; INTRODUCTION --; 1 IMPRESSIONS OF THE COVERED BODY --; 2 FACING CHANGE AND CHANGING MASKS --; 3 REFORMING AND UNIFORMING THE BODY --; 4 FEIGNED AND DISTORTED BODYSCAPES --; 5 ACTORS’ EFFIGIES AND PHOTO-PORTRAITS --; 6 FRACTURED AND EFFACED FAÇADES --; 7 OTHER PLACES --; EXHIBITIONS AND WEBSITES --; BIBLIOGRAPHY --; INDEX
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9781474470070; 9783110993899; 9783110994810; 9783110993752; 9783110993738; 9783110780406
• DOI: 10.1515/9781474470070
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: Ron J. Popenhagen.

Analyses the expansion of head and body masking from nineteenth-century Paris to its international maturity in contemporary cultureLooks at the presence and development of masquerade in the modernist era - via performance history - with parallel references to theatricality and performativity in visual arts and visual cultureComments upon masquerade’s foundation in popular performance throughout the 19th and 20th centuries, frequently alluding to significant images from the history of photographyTheorises masquerade within the context of European theatre and drama scholarship, as well as British and European conservatory arts and performance trainingEmploys critical thinking influenced by phenomenological and semiotic analyses of performanceThis book highlights that masquerade can be regarded as a distinct genre of performance activity that employs elements of the carnivalesque, circus, dance, gestural theatre and theatre of objects. Popenhagen traces artistic disguising from fin de siècle Pierrots in Paris, Marseille and Vienna to early twentieth-century masquerading in Moscow and Zürich. He explores identity play and display through the complementary lenses of image studies, cultural history and performance theory.