Irony and the modern theatre:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Cambridge [u.a.]
Cambridge Univ. Press
2011
|
| Ausgabe: | 1. publ. |
| Schriftenreihe: | Cambridge studies in modern theatre
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Beschreibung: | "Irony and theatre share intimate kinships, not only regarding dramatic conflict, dialectic or wittiness, but also scenic structure and the verbal or situational ironies that typically mark theatrical speech and action. Yet irony today, in aesthetic, literary and philosophical contexts especially, is often regarded with skepticism - as ungraspable, or elusive to the point of confounding. Countering this tendency, Storm advocates a wide-angle view of this master trope, exploring the ironic in major works by playwrights including Chekhov, Pirandello and Brecht, and in notable relation to well-known representative characters in drama from Ibsen's Halvard Solness to Stoppard's Septimus Hodge and Wasserstein's Heidi Holland. To the degree that irony is existential, its presence in the theatre relates directly to the circumstances and the expressiveness of the characters on stage. This study investigates how these key figures enact, embody, represent and personify the ironic in myriad situations in the modern and contemporary theatre"-- Provided by publisher. -- "Irony, in its contrariness, has gained a reputation for indeterminacy, for being all but ungraspable except perhaps in the most traditional contexts of wittiness, paradox, the assumption of an opposite, or a perspective of stylish but world-weary commentary. Irony in the more complicated view can now be confounding, a perspective that has become more pervasive, or at least more presumed, in connection with postmodernist or deconstructive assumptions regarding the disassociative properties of language in particular. Irony does, in fact, imply opposition, a consistent if at times hidden presence of the alternate view; and when such alternation is reiterated or compounded, the contrary properties of the trope become correspondingly more manifest, leading potentially to progressive negation or even self-cancellatio Includes bibliographical references |
| Beschreibung: | X, 256 S. |
| ISBN: | 9781107007925 |
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Datensatz im Suchindex
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|---|---|
| adam_text | Contents
Acknowledgements page
χ
Introduction
ι
ι
Irony personified: Ibsen and The Master Builder
13
2
The character of irony in Chekhov
3 8
3
Irony and dialectic: Shaw s Candida
73
4
Pirandello s Father
-
and Brecht s Mother
104
5
Absurdist irony: Ionesco s anti-play
132
6
Ironist First Class : Stoppard s
Arcűdiű
153
7
American ironies:
Wasserstein
and Kushner
180
8
Irony s theatre
208
Notes 22 s
Works cited
239
Index
251
Irony and theatre share intimate kinships,
regarding not only dramatic conflict, dialectic,
or wittiness, but also scenic structure and
the verbal or situational ironies that typically
mark theatrical speech and action. Yet irony
today, in aesthetic, literary, and philosophical
contexts especially, is often regarded with
skepticism
-
as ungraspable, or elusive to the
point of confounding. Countering this tendency,
Storm advocates a capacious, wide-angle view
of this master trope, exploring the ironic in
major works by playwrights including Chekhov,
Pirandello, and
Brecht,
and in notable relation
to well-known representative characters in
drama from Ibsen s
Halvard
Solness to Stoppard s
Septimus Hodge and Wasserstein s Heidi
Holland. To the degree that irony is existential,
its presence in the theatre relates directly to
the circumstances and the expressiveness of
the characters on stage. This study investigates
how these key figures enact, embody, represent,
and personify the ironic in myriad situations
in the modern and contemporary theatre.
¡
|
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| discipline | Literaturwissenschaft |
| edition | 1. publ. |
| era | Geschichte 1890-1995 gnd |
| era_facet | Geschichte 1890-1995 |
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| language | English |
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| spelling | Storm, William 1949- Verfasser (DE-588)1012748855 aut Irony and the modern theatre William Storm 1. publ. Cambridge [u.a.] Cambridge Univ. Press 2011 X, 256 S. txt rdacontent n rdamedia nc rdacarrier Cambridge studies in modern theatre "Irony and theatre share intimate kinships, not only regarding dramatic conflict, dialectic or wittiness, but also scenic structure and the verbal or situational ironies that typically mark theatrical speech and action. Yet irony today, in aesthetic, literary and philosophical contexts especially, is often regarded with skepticism - as ungraspable, or elusive to the point of confounding. Countering this tendency, Storm advocates a wide-angle view of this master trope, exploring the ironic in major works by playwrights including Chekhov, Pirandello and Brecht, and in notable relation to well-known representative characters in drama from Ibsen's Halvard Solness to Stoppard's Septimus Hodge and Wasserstein's Heidi Holland. To the degree that irony is existential, its presence in the theatre relates directly to the circumstances and the expressiveness of the characters on stage. This study investigates how these key figures enact, embody, represent and personify the ironic in myriad situations in the modern and contemporary theatre"-- Provided by publisher. -- "Irony, in its contrariness, has gained a reputation for indeterminacy, for being all but ungraspable except perhaps in the most traditional contexts of wittiness, paradox, the assumption of an opposite, or a perspective of stylish but world-weary commentary. Irony in the more complicated view can now be confounding, a perspective that has become more pervasive, or at least more presumed, in connection with postmodernist or deconstructive assumptions regarding the disassociative properties of language in particular. Irony does, in fact, imply opposition, a consistent if at times hidden presence of the alternate view; and when such alternation is reiterated or compounded, the contrary properties of the trope become correspondingly more manifest, leading potentially to progressive negation or even self-cancellatio Includes bibliographical references Geschichte 1890-1995 gnd rswk-swf Psychologie Irony in literature Drama History and criticism Drama Psychological aspects DRAMA / General bisacsh Drama (DE-588)4012899-4 gnd rswk-swf Ironie (DE-588)4027676-4 gnd rswk-swf Drama (DE-588)4012899-4 s Ironie (DE-588)4027676-4 s Geschichte 1890-1995 z DE-604 Digitalisierung UB Augsburg application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=022636747&sequence=000004&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung UB Passau application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=022636747&sequence=000006&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Klappentext |
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| title | Irony and the modern theatre |
| title_auth | Irony and the modern theatre |
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