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A collection of five plays by award-winning writer Malou Jacob: Juan Tamban, Macli-ing, Pepe, Anatomiya ng Korupsyon (Anatomy of Corruption), Pulitika ng Buhay at Pag-Ibig The Politics of Life and Love). Includes reviews of stagings. Text in Filipino.
Theater requires artifice, justice demands truth. Are these demands as irreconcilable as the pejorative term “show trials” suggests? After the Second World War, canonical directors and playwrights sought to claim a new public role for theater by restaging the era’s great trials as shows. The Nuremberg trials, the Eichmann trial, and the Auschwitz trials were all performed multiple times, first in courts and then in theaters. Does justice require both courtrooms and stages? In Staged, Minou Arjomand draws on a rich archive of postwar German and American rehearsals and performances to reveal how theater can become a place for forms of storytelling and judgment that are inadmissible in a court of law but indispensable for public life. She unveils the affinities between dramatists like Bertolt Brecht, Erwin Piscator, and Peter Weiss and philosophers such as Hannah Arendt and Walter Benjamin, showing how they responded to the rise of fascism with a new politics of performance. Linking performance with theories of aesthetics, history, and politics, Arjomand argues that it is not subject matter that makes theater political but rather the act of judging a performance in the company of others. Staged weaves together theater history and political philosophy into a powerful and timely case for the importance of theaters as public institutions.
In nineteenth-century Europe the ruling elites viewed the theater as a form of communication which had enormous importance. The theater provided the most significant form of mass entertainment and was the only arena aside from the church in which regular mass gatherings were possible. Therefore, drama censorship occupied a great deal of the ruling class’s time and energy, with a particularly focus on proposed scripts that potentially threatened the existing political, legal, and social order. This volume provides the first comprehensive examination of nineteenth-century political theater censorship at a time, in the aftermath of the French Revolution, when the European population was becoming increasingly politically active.
Presents a study of political theater in the English Renaissance, discussing the differences between a public playhouse and a private, or court theater, and looking at masques and the role of king in the Renaissance court.
Is postdramatic theatre political and if so how? How does it relate to Brecht's ideas of political theatre, for example? How can we account for the relationship between aesthetics and politics in new forms of theatre, playwriting, and performance? The chapters in this book discuss crucial aspects of the issues raised by the postdramatic turn in theatre in the late twentieth and early twenty-first century: the status of the audience and modes of spectatorship in postdramatic theatre; the political claims of postdramatic theatre; postdramatic theatre's ongoing relationship with the dramatic tradition; its dialectical qualities, or its eschewing of the dialectic; questions of representation and the real in theatre; the role of bodies, perception, appearance and theatricality in postdramatic theatre; as well as subjectivity and agency in postdramatic theatre, dance and performance. Offering analyses of a wide range of international performance examples, scholars in this volume engage with Hans-Thies Lehmann's theoretical positions both affirmatively and critically, relating them to other approaches by thinkers ranging from early theorists such as Brecht, Adorno and Benjamin, to contemporary thinkers such as Fischer-Lichte, Rancière and others
Here, for the first time in English, is celebrated French classicist Jacques Jouanna's magisterial account of the life and work of Sophocles. Exhaustive and authoritative, this acclaimed book combines biography and detailed studies of Sophocles' plays, all set in the rich context of classical Greek tragedy and the political, social, religious, and cultural world of Athens's greatest age, the fifth century. Sophocles was the commanding figure of his day. The author of Oedipus Rex and Antigone, he was not only the leading dramatist but also a distinguished politician, military commander, and religious figure. And yet the evidence about his life has, until now, been fragmentary. Reconstructing a lost literary world, Jouanna has finally assembled all the available information, culled from inscriptions, archaeological evidence, and later sources. He also offers a huge range of new interpretations, from his emphasis on the significance of Sophocles' political and military offices (previously often seen as honorary) to his analysis of Sophocles' plays in the mythic and literary context of fifth-century drama. Written for scholars, students, and general readers, this book will interest anyone who wants to know more about Greek drama in general and Sophocles in particular. With an extensive bibliography and useful summaries not only of Sophocles' extant plays but also, uniquely, of the fragments of plays that have been partially lost, it will be a standard reference in classical studies for years to come.
Fresh perspectives on political theater and its essential contribution to contemporary culture. Focused studies of individual plays complement broad-based discussions of the place of theater in a radically democratic society. This consistently challenging collection describes the art of change confronting the actual processes of change. 17 photos.
Acting the Right Part is a cultural history of huaju (modern Chinese drama) from 1966 to 1996. Xiaomei Chen situates her study both in the context of Chinese literary and cultural history and in the context of comparative drama and theater, cultural studies, and critical issues relevant to national theater worldwide. Following a discussion of the marginality of modern Chinese drama in relation to other genres, periods, and cultures, early chapters focus on the dynamic relationship between theater and revolution. Chosen during the Cultural Revolution as the exclusive artistic vehicle to promote proletariat art, "model theater" raises important questions about the complex relationships between women, memory, nation/state, revolution, and visual culture. Throughout this study, Chen argues that dramatic norms inform both theatrical performance and everyday political behavior in contemporary China.
'The Political Theatre' is among the most important documents of the modern stage. It tells of the foundation and flowering in Weimar Germany of a new form of theatre - epic theatre - designed to bring on to the stage the real political issues of the time, and to do so with all the aids that modern technology could supply.