Critical Theory and Performance: Revised and Enlarged by Janelle G. Reinelt, Joseph Roach

By Janelle G. Reinelt, Joseph Roach

Critical concept and Performance provides a large diversity of severe and theoretical tools and applies them to modern and old functionality genres—from level performs, dance-dramas, functionality paintings, cabaret, stand-up comedy, and jazz to circus, road theater, and shamanistic ritual. because the first finished advent to serious theory’s wealthy and numerous contributions to the research of drama, theater, and function, the booklet has been hugely influential for greater than a decade in delivering fertile flooring for educational investigations within the full of life box of functionality studies.

 

This up-to-date and accelerated variation provides nineteen new essays via the field’s major students and practitioners in addition to new serious introductions via editors Janelle G. Reinelt and Joseph R. Roach. Reflecting contemporary developments in functionality experiences, this revised version now contains discussions of serious race concept, postcolonial experiences, gender and sexualities, and mediatized cultures. The ensuing quantity is a different and crucial device for critics, lecturers, and scholars that paves the way in which for destiny scholarship.

 

Janelle G. Reinelt is Professor of Theatre and function on the collage of Warwick. Reinelt and Roach

 

Joseph R. Roach is Charles C. and Dorathea S. Dilley Professor of Theater and English at Yale University.

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Additional info for Critical Theory and Performance: Revised and Enlarged Edition (Theater: Theory Text Performance)

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By revealing the dy- SEMIOTICS AND ITS HERITAGE 21 namics of this process, hitherto generally accepted as natural rather than culturally constructed, semiotics provided the first step toward the devel- opment of alternative practices. The shift in modern semiotics from meaning as created by an author- artist to meaning as cocreated by a work and its audience was also of great importance to feminist theater theory. Again feminist film semioticians led the way in this area, considering the implications of the presentation of woman in films created with the unacknowledged but ubiquitous assump- tion of a male viewer.

By revealing the dy- SEMIOTICS AND ITS HERITAGE 21 namics of this process, hitherto generally accepted as natural rather than culturally constructed, semiotics provided the first step toward the devel- opment of alternative practices. The shift in modern semiotics from meaning as created by an author- artist to meaning as cocreated by a work and its audience was also of great importance to feminist theater theory. Again feminist film semioticians led the way in this area, considering the implications of the presentation of woman in films created with the unacknowledged but ubiquitous assump- tion of a male viewer.

2. Ferdinand de Saussure, Course in General Linguistics, trans. Wade Baskin (London: Fontana, 1974), 15. 3. Roland Barthes, Critical Essays, trans. : Northwestern University Press, 1972), 261-62. 4. Roland Barthes, Elements of Semiology, trans. Annette Lavers and Colin Smith (London: Jonathan Cape, 1967), 9. 5. Patrice Pavis, Languages of the Stage, trans. Susan Melrose et al. (New York: PAJ Publications, 1982). 6. Collected in Patrice Pavis, Marivaux a l'dpreuve de la scene (Paris: Sorbonne, 1986).

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