Download e-book for kindle: Contemporary Theatre, Film and Television; Volume 8 by Owen O'Donnell

By Owen O'Donnell

ISBN-10: 0810320711

ISBN-13: 9780810320710

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Antonin Artaud's The Theatre and its Double PDF

Quote:

My pricey friend,
i think i've got came upon an appropriate identify for my book.
it is going to be:
THE THEATRE AND ITS DOUBLE
for if theatre doubles lifestyles, lifestyles doubles precise theatre, however it has not anything to do with Oscar Wilde's rules on artwork. This name will conform to all of the doubles of the theatre which i presumed I'd stumbled on for thus decades: metaphysics, plague, cruelty,
the pool of energies which represent Myths, which guy now not embodies, is embodied by way of the theatre. by means of this double I suggest the nice magical agent of which the theatre, via its types, is just the figuration on its method to turning into the transfiguration.
it really is at the level that the union of inspiration, gesture and motion is reconstructed. And the double of the Theatre is fact untouched via the lads of today.
Artaud, Letter to Jean Paulhan.
25th January, 1936.
(Schumacher 1989, 87-88)

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Since its first e-book in 1938, The Theater and Its Double via the French artist and thinker Antonin Artaud has persisted to impress, motivate, enrage, liven up, problem, and goad any variety of theatrical debates in its demand a "Theater of Cruelty. " A trio of theatrical manifestos, the e-book is an competitive assault on the various such a lot valuable ideals of either theater and Western tradition. in keeping with Artaud, the theater's "double" is the same to its Jungian "shadow," the unacknowledged, subconscious point that completes it yet is in lots of methods its contrary. As "culture" inexorably attracts the creative impulse into secure channels, the repressed irrational urges of theater, in keeping with goals, faith, and emotion, are more and more essential to "purge" the disease of society. Artaud identifies language itself as one of many significant cultural culprits, and his assaults on it sometimes makes his textual content tough going. yet his problem to revive relevance to the center of the theatrical event is still primary to the power of theater, and his insistence at the sensory adventure of drama instead of the literary (and such leading edge rules because the use of unconventional "found spaces") is still the clarion name of the theatrical avant-garde. --John Longenbaugh

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Additional info for Contemporary Theatre, Film and Television; Volume 8

Example text

1973; Take This—My Body (also known as // corpo and The Body), Republic, 1974; Lezioni private (also known as The Private Lesson), 1975; DerKoder (also known as L'Appat and The Lure), 1975; La moglie virgine (also known as Valentina-—The Virgin Wife and The Virgin Wife), Silverstein, 1976; Ab Morgen Sind Wir Reich un Ehrlich (also known as / soliti ignoti colpiscona ancore and Rich and Respectable), 1977; Ciclon (also known as Cyclone), 1977; Gipsy Angel, 1989. PRINCIPAL TELEVISION APPEARANCES—Episodic: Sandy Mar- CARROLL BAKER 30 CONTEMPORARY THEATRE, FILM, AND TELEVISION • Volume 8 BALL shall, "The Next Victim," Thriller, ABC, 1975; also Danger, CBS.

S. Hudson Street, ABC, 1978; Dixie, Murder, She Wrote, 27 B BACHMAN, Richard See KING, Stephen BADHAM, John VOCATION: Director and producer. , Metro-GoldwynMayer/United Artists (MGM/UA), 1981; Blue Thunder, Columbia, 1983; WarGames, MGM/UA, 1983; American Flyers, Warner Brothers, 1985; Short Circuit, Tri-Star, 1986; (also executive producer) Stakeout, Buena Vista, 1987; executive producer, Disorganized Crime, Buena Vista, 1989; Bird on a Wire, Universal, 1990. S. citizen, 1950; son of Henry Lee and Mary lola (Hewitt) Badham; married Bonnie Sue Hughes, December 28, 1967 (divorced, 1979); married Jan Speck, 1983 (divorced, 1990); children: Kelly MacDonald (first marriage).

Specials: Sally Devlin, "The File on Devlin," Hallmark Hall of Fame, NBC, 1969; Broadway Plays Washington! Kennedy Center Tonight, PBS, 1982; Blondes vs. Brunettes, ABC, 1984; Annie, "The Rope," American Playwrights Theatre, Arts and Entertainment, 1989. CAREER: STAGE DEBUT—Richard Miller, Ah! Wilderness, Intimate Theatre, London, 1941. PRINCIPAL STAGE APPEARANCES— Sebastian, Twelfth Night, Ralph Berger, Awake and Sing, and Ba, The Holy Isle, all Arts Theatre, London, 1942; Andrew, London Wl, Q Theatre, London, 1942; Leo Hubbard, The Little Foxes, Piccadilly Theatre, London, 1942; Pinkie Brown, Brighton Rock, Garrick Theatre, London, 1943; Coney, The Way Back, Westminster Theatre, London, 1949; Valentine Crisp, Sweet Madness, Vaudeville Theatre, London, 1952; Detective Trotter, The Mousetrap, Ambassadors' Theatre, London, 1952; David and Julian Fanshaw, Double Image, Savoy Theatre, London, 1956; also Toni Rigi, To Dorothy, a Son, 1950; Theseus, The Rape of the Belt, 1957.

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Contemporary Theatre, Film and Television; Volume 8 by Owen O'Donnell


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