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Metatheater and Modernity: Baroque and Neobaroque by Mary Ann Frese Witt

metatheater and modernity frese witt mary ann

This wise change of focus defines the issues joined in the book. In half a century of scholarship on the subject, metatheater has been identified in the theater traditions of nearly every period and culture, but Frese Witt narrows her scope to focus on two centuries of prolific metatheatrical activity and the link between them. Metatheater and Modernity also examines the role of technology in the creating and breaking of illusions in both centuries. Metatheater and Modernity: Baroque and Neobaroque is the first work to link the study of metatheater with the concepts baroque and neobaroque. She approaches the question not only of what metatheater does in these periods but also why it enjoys its peak in the seventeenth century and such a strong resurgence in the twentieth. She bolsters each example with numerous other plays that include metatheatrical aspects or tendencies similar to the paradigm, alerting the reader to trends within and across linguistic borders. The author, in comparing Moliere with followers such as Jacques Copeau, Jean Cocteau, Jean Giraudoux, and Eugene Ionesco, provides convincing solutions to lingering questions about the impromptu: What was its function? Though Bernini's architecture and sculpture stood the test of time far better than his written work--only one comedy from his oeuvre has survived--we know that he was renowned as a stage designer par excellence, creating stage effects that eliminated the boundary between stage and spectator.

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Mary Ann Frese Witt. Metatheater and Modernity: Baroque and Neobaroque.

metatheater and modernity frese witt mary ann

Searching for a proper definition of the oft-discussed term, she reads early work by Abel, Georges Forestier, Manfred Schmeling, and Slawomir Swiontek as well as the more recent studies of Martin Puchner, Tadeusz Kowzan, and Mariagabriella Cambiaghi. To know more about other products - ; Metatheater and Modernity: Baroque and Neobaroque is the first work to link the study of metatheater with the concepts of baroque and neobaroque. In each of the book's five chapters, the author chooses an example or pair of examples from baroque comedy and what has been termed twentieth-century neobaroque comedy, juxtaposing the works from the two periods and examining how and why metatheater functions similarly in each. The comparisons include Jean Rotrou? In contrast to previous work on metatheater, it emphasizes the metatheatrical role of comedy. Metatheater and Modernity also examines the role of technology in the creating and breaking of illusions in both centuries. Her bibliography of the scholarly literature on metatheater is just as vast.

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Metatheater and modernity : baroque and neobaroque

metatheater and modernity frese witt mary ann

Arguing that the onset of European modernity in the early seventeenth century and both the modernist and the postmodernist periods of the twentieth century witnessed a flourishing of the phenomenon of theater that reflects on itself as theater, the author re-examines the concepts of metatheater, baroque, and neobaroque through a pairing and close analysis of seventeenth and twentieth century plays. Illusion comique with Tony Kushner? However, the interest to be charged by the bank will be passed on to you as an upfront discount. Metatheater and Modernity's approach is entirely new. Retrieved Mar 18 2019 from Mary Ann Frese Witt. Albeit in the discreetly displaced form of a martyr story set in imperial Rome, the play enacts the violent disorders associated with religion itself and so, by extension, the virtues of the new secular order that theater embodies.

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Mary Ann Frese Witt: Metatheater and Modernity (ePUB)

metatheater and modernity frese witt mary ann

She avers that at this juncture in the evolution of the subject, it is more useful to define what metatheater does. She uses Moliere's Impromptu de Versailles as a starting point, and discusses several twentieth-century impromptus that pay homage to Moliere's piece while completing a similar task, commenting on the author's theatrical principles and responding to criticism. After a comprehensive review of what metatheater is, the author calls for change in scholarship on metatheater. Metatheater and Modernity: Baroque and Neobaroque is a necessary read for scholars working on the baroque and its twentieth-century legacy, or any student or scholar of theater history. Metatheater and Modernity: Baroque and Neobaroque is the first work to link the study of metatheater with the concepts of baroque and neobaroque. After a comprehensive review of what metatheater is, the author calls for change in scholarship on metatheater.

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Metatheater and Modernity: Baroque and Neobaroque by Mary Ann Frese Witt

metatheater and modernity frese witt mary ann

After a career of teaching comparative theater to university students, writing on and translating theater, and leading summer seminars in Avignon, there are few scholars more equipped than Mary Ann Frese Witt to lead the reader through the complex web of scholarship on metatheater and to break new ground on the subject. Next, a French baroque comedy and its twentieth-century free adaptation are taken into consideration, namely Pierre Corneille's L'Illusion and Tony Kushner's The Illusion. Metatheater and Modernity: Baroque and Neobaroque. Metatheater and Modernity also examines the role of technology in the creating and breaking of illusions in both centuries. The author goes further than identifying one or two paradigmatic metatheatrical pieces or artists per chapter. She approaches the question not only of what metatheater does in these periods but also why it enjoys its peak in the seventeenth century and such a strong resurgence in the twentieth. Metatheater and Modernity: Baroque and Neobaroque.

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Mary Ann Frese Witt: Metatheater and Modernity (ePUB)

metatheater and modernity frese witt mary ann

Each of her five chapters, taken separately, offers stimulating and often inspiring comparative readings. Arguing that the onset of European modernity in the early seventeenth century and both the modernist and the postmodernist periods of the twentieth century witnessed a flourishing of the phenomenon of theater that reflects on itself as theater, the author reexamines the concepts of metatheater, baroque, and neobaroque through a pairing and close analysis of seventeenth and twentieth century plays. It is clear from Metatheater and Modernity that the author shares Kushner's opinion and seeks to impart it upon her reader. With such an innovative, passionate, and well-organized book, she will surely succeed in this mission. Frese Witt concludes this latest book with a chapter on metatheater in seventeenth- and twentieth-century impromptu theater.

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Metatheater and modernity : baroque and neobaroque

metatheater and modernity frese witt mary ann

. Such connections can be significant to artists with any concern for social justice or how theatre functions in society. Metatheater, the author concludes, is both performance and performative: it accomplishes a perceptual transformation in its audience both by defending theater and exposing the illusory quality of the world outside. Metatheater, the author concludes, is both performance and performative: it accomplishes a perceptual transformation in its audience both by defending theater and exposing the illusory quality of the world outside. Arguing that the onset of European modernity in the early seventeenth century and both the modernist and the postmodernist periods of the twentieth century witnessed a flourishing of the phenomenon of theater that reflects on itself as theater, the author reexamines the concepts of metatheater, baroque, and neobaroque through a pairing and close analysis of seventeenth and twentieth century plays.

Next

Metatheater and Modernity: Baroque and Neobaroque by Mary Ann Frese Witt

metatheater and modernity frese witt mary ann

Metatheater, the author concludes, is both performance and performative: it accomplishes a perceptual transformation in its audience both by defending theater and exposing the illusory quality of the world outside. Arguing that the onset of European modernity in the early seventeenth century and both the modernist and the postmodernist periods of the twentieth century witnessed a flourishing of the phenomenon of theater that reflects on itself as theater, the author reexamines the concepts of metatheater, baroque, and neobaroque through a pairing and close analysis of seventeenth and twentieth century plays. Searching for a proper definition of the oft-discussed term, she reads early work by Abel, Georges Forestier, Manfred Schmeling, and Slawomir Swiontek as well as the more recent studies of Martin Puchner, Tadeusz Kowzan, and Mariagabriella Cambiaghi. Why does it virtually disappear in the nineteenth century to reappear in the twentieth? In contrast to previous work on metatheater, it emphasizes the metatheatrical role of comedy. Focusing on the seventeenth and the twentieth centuries, Metatheater and Modernity is the first text in which the theater traditions of the two centuries are expressly compared and discussed. Metatheater and Modernity also examines the role of technology in the creating and breaking of illusions in both centuries. The book proceeds to do precisely this.

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Metatheater and Modernity: Baroque and Neobaroque by Mary Ann Frese Witt

metatheater and modernity frese witt mary ann

This chapter is particularly interesting for any scholar of comedy, as the impromptu remains a curious and understudied subgenre of seventeenth-century comedy. Frese Witt outlines the literature on metatheater since Lionel Abel coined the term in 1963, commenting not only on English-language scholarship but noting key Italian, Polish, and French language studies. Arguing that the onset of European modernity in the early seventeenth century and both the modernist and the postmodernist periods of the twentieth century witnessed a flourishing of the phenomenon of theater that reflects on its Metatheater and Modernity: Baroque and Neobaroque is the first work to link the study of metatheater with the concepts of baroque and neobaroque. In contrast to previous work on metatheater, it emphasizes the metatheatrical role of comedy. In her first chapter, the actor as saint or martyr takes center stage, and Jean Rotrou's Le veritable Saint Genest, Jean-Paul Sartre's Kean, and Jean Genet's Les Negres are considered. Frese Witt outlines the literature on metatheater since Lionel Abel coined the term in 1963, commenting not only on English-language scholarship but noting key Italian, Polish, and French language studies. The book proceeds to do precisely this.

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