All Theater Is Revolutionary Theater / / Benjamin Bennett.
All Theater Is Revolutionary Theater is the first book to consider why, in the Western tradition (and only in the Western tradition), theatrical drama is regarded as its own literary or poetic type, when the criteria needed to differentiate drama from other forms of writing do not resemble the crite...
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Place / Publishing House: | Ithaca, NY : : Cornell University Press, , [2018] ©2005 |
Year of Publication: | 2018 |
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Bennett, Benjamin, author. aut http://id.loc.gov/vocabulary/relators/aut All Theater Is Revolutionary Theater / Benjamin Bennett. Ithaca, NY : Cornell University Press, [2018] ©2005 1 online resource (260 p.) : 3 charts/graphs text txt rdacontent computer c rdamedia online resource cr rdacarrier text file PDF rda Frontmatter -- CONTENTS -- ACKNOWLEDGMENTS -- Introduction -- Part One -- CHAPTER ONE. Aristotle's Defeat -- CHAPTER TWO. Genre and Drama: The Historical and Theoretical Background -- Part Two -- CHAPTER THREE. Brecht's Writing against Writing -- CHAPTER FOUR. Brecht, Artaud, Wedekind, Eliot: The Absence of the Subject -- CHAPTER FIVE. The Theater That Never Was: Georg Buchner and Drama as a Philosophical Experiment -- CHAPTER SIX. Hofmannsthal's Theater of Adaptation -- CHAPTER SEVEN. Diderot, Shaw, Beckett, and the Meaning of Plays -- CHAPTER EIGHT. Performance and the Exposure of Hermeneutics -- CHAPTER NINE. Robert Wilson and the Work as an Empty Wavelength for Its Own Public Discussion -- Conclusion -- APPENDIX. How Buchner Uses and Conceives of Thomas Paine (Payne) in Dantons Tod -- NOTES -- Index restricted access http://purl.org/coar/access_right/c_16ec online access with authorization star All Theater Is Revolutionary Theater is the first book to consider why, in the Western tradition (and only in the Western tradition), theatrical drama is regarded as its own literary or poetic type, when the criteria needed to differentiate drama from other forms of writing do not resemble the criteria by which types of prose or verse are ordinarily distinguished. Through close readings of such playwrights as Beckett, Brecht, Büchner, Eliot, Shaw, Wedekind, and Robert Wilson, Benjamin Bennett looks at the relationship between literature and drama, identifying typical problems in the development of dramatic literature and exploring how the uncomfortable association with theatrical performance affects the operation of drama in literary history.Bennett's historical investigations into theoretical works ranging from Aristotle to Artaud, Brecht, and Diderot suggest that the attempt to include drama in the system of Western literature causes certain specific incongruities that, in his view, have the salutary effect of preserving the otherwise endangered possibility of a truly liberal, progressive, or revolutionary literature. Mode of access: Internet via World Wide Web. In English. Description based on online resource; title from PDF title page (publisher's Web site, viewed 03. Jan 2023) Literary Studies. Performing Arts & Drama. LITERARY CRITICISM / Drama. bisacsh Title is part of eBook package: De Gruyter Cornell University Press Backlist 2000-2013 9783110536157 print 9780801443091 https://doi.org/10.7591/9781501720994 https://www.degruyter.com/isbn/9781501720994 Cover https://www.degruyter.com/document/cover/isbn/9781501720994/original |
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English |
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author |
Bennett, Benjamin, Bennett, Benjamin, |
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Bennett, Benjamin, Bennett, Benjamin, All Theater Is Revolutionary Theater / Frontmatter -- CONTENTS -- ACKNOWLEDGMENTS -- Introduction -- Part One -- CHAPTER ONE. Aristotle's Defeat -- CHAPTER TWO. Genre and Drama: The Historical and Theoretical Background -- Part Two -- CHAPTER THREE. Brecht's Writing against Writing -- CHAPTER FOUR. Brecht, Artaud, Wedekind, Eliot: The Absence of the Subject -- CHAPTER FIVE. The Theater That Never Was: Georg Buchner and Drama as a Philosophical Experiment -- CHAPTER SIX. Hofmannsthal's Theater of Adaptation -- CHAPTER SEVEN. Diderot, Shaw, Beckett, and the Meaning of Plays -- CHAPTER EIGHT. Performance and the Exposure of Hermeneutics -- CHAPTER NINE. Robert Wilson and the Work as an Empty Wavelength for Its Own Public Discussion -- Conclusion -- APPENDIX. How Buchner Uses and Conceives of Thomas Paine (Payne) in Dantons Tod -- NOTES -- Index |
author_facet |
Bennett, Benjamin, Bennett, Benjamin, |
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b b bb b b bb |
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VerfasserIn VerfasserIn |
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Bennett, Benjamin, |
title |
All Theater Is Revolutionary Theater / |
title_full |
All Theater Is Revolutionary Theater / Benjamin Bennett. |
title_fullStr |
All Theater Is Revolutionary Theater / Benjamin Bennett. |
title_full_unstemmed |
All Theater Is Revolutionary Theater / Benjamin Bennett. |
title_auth |
All Theater Is Revolutionary Theater / |
title_alt |
Frontmatter -- CONTENTS -- ACKNOWLEDGMENTS -- Introduction -- Part One -- CHAPTER ONE. Aristotle's Defeat -- CHAPTER TWO. Genre and Drama: The Historical and Theoretical Background -- Part Two -- CHAPTER THREE. Brecht's Writing against Writing -- CHAPTER FOUR. Brecht, Artaud, Wedekind, Eliot: The Absence of the Subject -- CHAPTER FIVE. The Theater That Never Was: Georg Buchner and Drama as a Philosophical Experiment -- CHAPTER SIX. Hofmannsthal's Theater of Adaptation -- CHAPTER SEVEN. Diderot, Shaw, Beckett, and the Meaning of Plays -- CHAPTER EIGHT. Performance and the Exposure of Hermeneutics -- CHAPTER NINE. Robert Wilson and the Work as an Empty Wavelength for Its Own Public Discussion -- Conclusion -- APPENDIX. How Buchner Uses and Conceives of Thomas Paine (Payne) in Dantons Tod -- NOTES -- Index |
title_new |
All Theater Is Revolutionary Theater / |
title_sort |
all theater is revolutionary theater / |
publisher |
Cornell University Press, |
publishDate |
2018 |
physical |
1 online resource (260 p.) : 3 charts/graphs |
contents |
Frontmatter -- CONTENTS -- ACKNOWLEDGMENTS -- Introduction -- Part One -- CHAPTER ONE. Aristotle's Defeat -- CHAPTER TWO. Genre and Drama: The Historical and Theoretical Background -- Part Two -- CHAPTER THREE. Brecht's Writing against Writing -- CHAPTER FOUR. Brecht, Artaud, Wedekind, Eliot: The Absence of the Subject -- CHAPTER FIVE. The Theater That Never Was: Georg Buchner and Drama as a Philosophical Experiment -- CHAPTER SIX. Hofmannsthal's Theater of Adaptation -- CHAPTER SEVEN. Diderot, Shaw, Beckett, and the Meaning of Plays -- CHAPTER EIGHT. Performance and the Exposure of Hermeneutics -- CHAPTER NINE. Robert Wilson and the Work as an Empty Wavelength for Its Own Public Discussion -- Conclusion -- APPENDIX. How Buchner Uses and Conceives of Thomas Paine (Payne) in Dantons Tod -- NOTES -- Index |
isbn |
9781501720994 9783110536157 9780801443091 |
url |
https://doi.org/10.7591/9781501720994 https://www.degruyter.com/isbn/9781501720994 https://www.degruyter.com/document/cover/isbn/9781501720994/original |
illustrated |
Not Illustrated |
dewey-hundreds |
700 - Arts & recreation |
dewey-tens |
790 - Sports, games & entertainment |
dewey-ones |
792 - Stage presentations |
dewey-full |
792/.01 |
dewey-sort |
3792 11 |
dewey-raw |
792/.01 |
dewey-search |
792/.01 |
doi_str_mv |
10.7591/9781501720994 |
oclc_num |
1083583551 |
work_keys_str_mv |
AT bennettbenjamin alltheaterisrevolutionarytheater |
status_str |
n |
ids_txt_mv |
(DE-B1597)515191 (OCoLC)1083583551 |
carrierType_str_mv |
cr |
hierarchy_parent_title |
Title is part of eBook package: De Gruyter Cornell University Press Backlist 2000-2013 |
is_hierarchy_title |
All Theater Is Revolutionary Theater / |
container_title |
Title is part of eBook package: De Gruyter Cornell University Press Backlist 2000-2013 |
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1770177083070218240 |
fullrecord |
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