The Death of Character: Perspectives on Theater after Modernism by E. Fuchs 1996

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Item specifics

Condition
Acceptable: A book with obvious wear. May have some damage to the book cover but the book is still ...
Educational Level
Adult & Further Education
Personalized
No
MPN
Does not apply
Level
Advanced
Country/Region of Manufacture
United States
ISBN
9780253210081
Category

About this product

Product Identifiers

Publisher
Indiana University Press
ISBN-10
0253210089
ISBN-13
9780253210081
eBay Product ID (ePID)
81518

Product Key Features

Number of Pages
240 Pages
Publication Name
Death of Character : Perspectives on Theater after Modernism
Language
English
Publication Year
1996
Subject
Theater / General, Drama
Type
Textbook
Subject Area
Literary Criticism, Performing Arts
Author
Elinor Fuchs
Series
Drama and Performance Studies
Format
Trade Paperback

Dimensions

Item Height
0.7 in
Item Weight
12.8 Oz
Item Length
9.2 in
Item Width
6 in

Additional Product Features

Intended Audience
Scholarly & Professional
LCCN
95-022915
TitleLeading
The
Dewey Edition
21
Reviews
Treating theater as a crucial mediating term between the heterogeneous fullness of life and the clarifying abstractions of theory and as a grounding principle in a period of conflicting or dissolving truths, Fuchs (Yale and Columbia) demonstrates in this sage and sane examination of postmodern theater (especially in the US) why she is one of the most astute observers of the contemporary scene. As a critic she brings to this perceptive, dense study not only insights of sheer brilliance but historical perspective (including samplings of her own reviews and articles, 1979-93) and contextual overview rare in contemporary critical writing. Although clearly supportive of trends challenging more traditional approaches in theater, she remains objective and balanced throughout. She provides illuminating analyses of work by such artists as Richard Foreman, Robert Wilson, Meredith Monk, Reza Abdoh, Elizabeth LeCompte, and Suzan-Lori Parks, among others, and such influential theorists as Jacques Derrida. Arguably the most accessible yet learned road map to what remains for many impenetrable territory, Fuchs' book, heavily theoretical but constantly anchored to specific performances, is an obligatory addition to all academic libraries serving upper-division undergraduates and abov, "Treating theater as a crucial mediating term between the heterogeneous fullness of life and the clarifying abstractions of theory and as a grounding principle in a period of conflicting or dissolving truths, Fuchs (Yale and Columbia) demonstrates in this sage and sane examination of postmodern theater (especially in the US) why she is one of the most astute observers of the contemporary scene. As a critic she brings to this perceptive, dense study not only insights of sheer brilliance but historical perspective (including samplings of her own reviews and articles, 1979-93) and contextual overview rare in contemporary critical writing. Although clearly supportive of trends challenging more traditional approaches in theater, she remains objective and balanced throughout. She provides illuminating analyses of work by such artists as Richard Foreman, Robert Wilson, Meredith Monk, Reza Abdoh, Elizabeth LeCompte, and Suzan-Lori Parks, among others, and such influential theorists as Jacques Derrida. Arguably the most accessible yet learned road map to what remains for many impenetrable territory, Fuchs' book, heavily theoretical but constantly anchored to specific performances, is an obligatory addition to all academic libraries serving upper-division undergraduates and abov"--D. B. Wilmeth, Brown University , Choice , December 1996, Treating theater as a crucial mediating term between the heterogeneous fullness of life and the clarifying abstractions of theory and as a grounding principle in a period of conflicting or dissolving truths, Fuchs (Yale and Columbia) demonstrates in this sage and sane examination of postmodern theater (especially in the US) why she is one of the most astute observers of the contemporary scene. As a critic she brings to this perceptive, dense study not only insights of sheer brilliance but historical perspective (including samplings of her own reviews and articles, 1979-93) and contextual overview rare in contemporary critical writing. Although clearly supportive of trends challenging more traditional approaches in theater, she remains objective and balanced throughout. She provides illuminating analyses of work by such artists as Richard Foreman, Robert Wilson, Meredith Monk, Reza Abdoh, Elizabeth LeCompte, and Suzan-Lori Parks, among others, and such influential theorists as Jacques Derrida. Arguably the most accessible yet learned road map to what remains for many impenetrable territory, Fuchs' book, heavily theoretical but constantly anchored to specific performances, is an obligatory addition to all academic libraries serving upper-division undergraduates and abovD. B./P>--D. B. Wilmeth, Brown University"Choice" (01/01/1996)
Grade From
College Graduate Student
Dewey Decimal
792/.022
Table Of Content
IntroductionPart I: Modern Retrospect1. Character: Its Rise and Fall2. The Mysterium and the Re-Allegorization of Modern Drama3. Reading Against the GrainPart II: Theater After Modernism4. Signalling Through the Signs: Thinking Theater After Derrida5. Play as Landscape: Another Version of Pastoral6. Staging the Obscene Body7. Theater as Shopping8. Postmodernism and the "Scene" of TheaterReviews and Articles 1979-1993: Accounts of an Emerging Aesthetic 1979 Des McAnuff's Leave it to Beaver is Dead Richard Schechner's The Balcony 1982 Andrei Serban's The Marriage of Figaro 1983 The Death of Character 1985 Peter Sellars's The Count of Monte Cristo 1986 Robert Wilson's Alcestis 1988 Elizabeth LeCompte and The Wooster Group's Frank Dell's The Temptation of Saint Antony 1989 Misunderstanding Postmodernism: Joanne Akalaitis's Cymbeline 1993 The AIDS Quilt and The Performance of Mourning
Synopsis
"Extremely well written, and exceedingly well informed, this is a work that opens a variety of important questions in sophisticated and theoretically nuanced ways. It is hard to imagine a better tour guide than Fuchs for a trip through the last thirty years of, as she puts it, what we used to call the 'avant-garde.'" --Essays in Theatre ". . . an insightful set of theoretical 'takes' on how to think about theatre before and theatre after modernism." --Theatre Journal "In short, for those who never experienced a 'postmodern swoon, ' Elinor Fuchs is an excellent informant." --Performing Arts Journal ". . . a thoughtful, highly readable contribution to the evolving literature on theatre and postmodernism." --Modern Drama "A work of bold theoretical ambition and exceptional critical intelligence. . . . Fuchs combines mastery of contemporary cultural theory with a long and full participation in American theater culture: the result is a long-needed, long-awaited elaboration of a new theatrical paradigm." --Una Chaudhuri, New York University "What makes this book exceptional is Fuchs' acute rehearsal of the stranger unnerving events of the last generation that have--in the cross-reflections of theory--determined our thinking about theater. She seems to have seen and absorbed them all." --Herbert Blau, Center for Twentieth Century Studies, University of Wisconsin, Milwaukee "Surveying the extraordinary scene of the postmodern American theater, Fuchs boldly frames key issues of subjectivity and performance with the keenest of critical eyes for the compelling image and the telling gesture." --Joseph Roach, Tulane University " . . . Fuchs makes an exceptionally lucid and eloquent case for the value and contradictions in postmodern theater." --Alice Rayner, Stanford University "Arguably the most accessible yet learned road map to what remains for many impenetrable territoryan obligatory addition to all academic libraries serving upper-division undertgraduates and above." --Choice "A systematic, comprehensive and historically-minded assessment of what, precisely, 'post-modern theatre' is, anyway." --American Theatre In this engrossing study, Elinor Fuchs explores the multiple worlds of theater after modernism. While The Death of Character engages contemporary cultural and aesthetic theory, Elinor Fuchs always speaks as an active theater critic. Nine of her Village Voice and American Theatre essays conclude the volume. They give an immediate, vivid account of contemporary theater and theatrical culture written from the front of rapid cultural change., They give an immediate, vivid account of contemporary theater and theatrical culture written from the front of rapid cultural change., "Extremely well written, and exceedingly well informed, this is a work that opens a variety of important questions in sophisticated and theoretically nuanced ways. It is hard to imagine a better tour guide than Fuchs for a trip through the last thirty years of, as she puts it, what we used to call the 'avant-garde.'" --Essays in Theatre ". . . an insightful set of theoretical 'takes' on how to think about theatre before and theatre after modernism." --Theatre Journal "In short, for those who never experienced a 'postmodern swoon,' Elinor Fuchs is an excellent informant." --Performing Arts Journal ". . . a thoughtful, highly readable contribution to the evolving literature on theatre and postmodernism." --Modern Drama "A work of bold theoretical ambition and exceptional critical intelligence. . . . Fuchs combines mastery of contemporary cultural theory with a long and full participation in American theater culture: the result is a long-needed, long-awaited elaboration of a new theatrical paradigm." --Una Chaudhuri, New York University "What makes this book exceptional is Fuchs' acute rehearsal of the stranger unnerving events of the last generation that have--in the cross-reflections of theory--determined our thinking about theater. She seems to have seen and absorbed them all." --Herbert Blau, Center for Twentieth Century Studies, University of Wisconsin, Milwaukee "Surveying the extraordinary scene of the postmodern American theater, Fuchs boldly frames key issues of subjectivity and performance with the keenest of critical eyes for the compelling image and the telling gesture." --Joseph Roach, Tulane University " . . . Fuchs makes an exceptionally lucid and eloquent case for the value and contradictions in postmodern theater." --Alice Rayner, Stanford University "Arguably the most accessible yet learned road map to what remains for many impenetrable territoryan obligatory addition to all academic libraries serving upper-division undertgraduates and above." --Choice "A systematic, comprehensive and historically-minded assessment of what, precisely, 'post-modern theatre' is, anyway." --American Theatre In this engrossing study, Elinor Fuchs explores the multiple worlds of theater after modernism. While The Death of Character engages contemporary cultural and aesthetic theory, Elinor Fuchs always speaks as an active theater critic. Nine of her Village Voice and American Theatre essays conclude the volume. They give an immediate, vivid account of contemporary theater and theatrical culture written from the front of rapid cultural change., "Extremely well written, and exceedingly well informed, this is a work that opens a variety of important questions in sophisticated and theoretically nuanced ways. It is hard to imagine a better tour guide than Fuchs for a trip through the last thirty years of, as she puts it, what we used to call the 'avant-garde.'" --Essays in Theatre "... an insightful set of theoretical 'takes' on how to think about theatre before and theatre after modernism." --Theatre Journal "In short, for those who never experienced a 'postmodern swoon, ' Elinor Fuchs is an excellent informant." --Performing Arts Journal "... a thoughtful, highly readable contribution to the evolving literature on theatre and postmodernism." --Modern Drama "A work of bold theoretical ambition and exceptional critical intelligence.... Fuchs combines mastery of contemporary cultural theory with a long and full participation in American theater culture: the result is a long-needed, long-awaited elaboration of a new theatrical paradigm." --Una Chaudhuri, New York University "What makes this book exceptional is Fuchs' acute rehearsal of the stranger unnerving events of the last generation that have--in the cross-reflections of theory--determined our thinking about theater. She seems to have seen and absorbed them all." --Herbert Blau, Center for Twentieth Century Studies, University of Wisconsin, Milwaukee "Surveying the extraordinary scene of the postmodern American theater, Fuchs boldly frames key issues of subjectivity and performance with the keenest of critical eyes for the compelling image and the telling gesture." --Joseph Roach, Tulane University "... Fuchs makes an exceptionally lucid and eloquent case for the value and contradictions in postmodern theater." --Alice Rayner, Stanford University "Arguably the most accessible yet learned road map to what remains for many impenetrable territoryan obligatory addition to all academic libraries serving upper-division undertgraduates and above." --Choice "A systematic, comprehensive and historically-minded assessment of what, precisely, 'post-modern theatre' is, anyway." --American Theatre In this engrossing study, Elinor Fuchs explores the multiple worlds of theater after modernism. While The Death of Character engages contemporary cultural and aesthetic theory, Elinor Fuchs always speaks as an active theater critic. Nine of her Village Voice and American Theatre essays conclude the volume. They give an immediate, vivid account of contemporary theater and theatrical culture written from the front of rapid cultural change.
LC Classification Number
PN2193.E86F83 1996

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