Dramatic apparitions and theatrical ghosts: the staging of illusion across time and cultures
Gespeichert in:
| Weitere Verfasser: | , |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
London ; New York ; Oxford ; New Dehli ; Sydney
Methuen Drama
2023
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Beschreibung: | xiv, 229 Seiten Illustrationen |
| ISBN: | 9781350371699 9781350371736 |
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Datensatz im Suchindex
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Contents viii List of Illustrations List of Contributors ix xii Preface Summoning the Illusion within the Illusion: An Introduction Ann C. Hall and Alan Nadel 1 1 Made of Anxiety: Two (or Three) Ghosts in Aeschylus John Timpane 2 15 A Theatre of Ghosts: Spirits on the Traditional Japanese Stage Kevin J. Wetmore, Jr. 3 The Holiest of Ghosts: Staging the Supernatural in the 4 “I Am Not Here”: Staging the (Un)Dead and the Thresholds of 35 51 Early Middle Ages Andrew Rabin Theatrical Performance Christopher Salamone 5 69 Creating Stage Ghosts: The Archeology of Spectral Illusion Beth A. Kattelman 6 Blithe Spirit: A Spectral Anatomy of Astral Bigamy Judith Roof 7 The Ghost of Unrequited Love Possesses the Modern Heart: 8 Of Outlaws and Spirits: Sam Shepard’s Fool for Love (1983) and 93 107 121 Paddy Chayefsky’s Dybbuk in The Tenth Man Ben Furnish David Mamet’s Prairie du Chien (1979) and The Shawl (1985) Ann C. Hall 9 135 Literal Ghosts, Figurative Humanity and the Specter of Capitalism in August Wilsons Pittsburgh Cycle Alan Nadel 149 10 “All Spooked Out”: Topdog/Underdoģs Ghosts Jennifer Larson 163 11 Deficient Visitations: Staging Ghostliness and Irishness in Martin McDonagh’s Comedy Craig N. Owens 177 12 Holding the Dead Close: The Comfort of Ghosts in the Plays of Sarah Ruhl Amy Muse 189 13 Anishinaabe, Dakhòta, and Nimiipuu Hauntings in the Indigenous Drama of Alanis King, LeAnne Howe and Beth Piatote Margaret Noodin Index 203 221
Ghosts haunt the stages of world theatre, appearing in classical Greek drama through to the plays of 21st-century dramatists. Tracing the phenomenon across time and in different cultures, the chapters collected here examine their representation, dramatic function, and what they may tell us about the belief systems of their original audiences and the conditions of theatrical production. As illusions of illusions, they foreground many dramatic themes common to a wide variety of periods and cultures. Arranged chronologically, this collection examines how ghosts represent political change in Athenian culture in three plays by Aeschylus; their function in traditional Japanese drama; the staging of the supernatural in the dramatic liturgy of the early Middle Ages: ghosts within the dramatic works of Thomas Middleton, George Peele, and Christopher Marlowe, and the technologies employed in the 18th and 19th centuries to represent the supernatural on stage. Coverage of the dramatic representation of ghosts in the 20th and 21st centuries includes studies of Noël Coward’s Blithe Spirit, August Wilson’s Pittsburgh Cycle, plays by Sam Shepard, David Mamet, and Sarah Ruhl, Paddy Chayefsky's The Tenth Man, Suzan-Lori Parks’ Topdog/Underdog, and the spectral imprint of Shakespeare's ghosts in the Irish drama of Marina Carr, Martin McDonagh. William Butler Yeats, and Samuel Beckett. The volume closes by examining plays by three contemporary American indigenous writers, Alanis King, LeAnne Howe, and Beth Piatote. |
| adam_txt |
Contents viii List of Illustrations List of Contributors ix xii Preface Summoning the Illusion within the Illusion: An Introduction Ann C. Hall and Alan Nadel 1 1 Made of Anxiety: Two (or Three) Ghosts in Aeschylus John Timpane 2 15 A Theatre of Ghosts: Spirits on the Traditional Japanese Stage Kevin J. Wetmore, Jr. 3 The Holiest of Ghosts: Staging the Supernatural in the 4 “I Am Not Here”: Staging the (Un)Dead and the Thresholds of 35 51 Early Middle Ages Andrew Rabin Theatrical Performance Christopher Salamone 5 69 Creating Stage Ghosts: The Archeology of Spectral Illusion Beth A. Kattelman 6 Blithe Spirit: A Spectral Anatomy of Astral Bigamy Judith Roof 7 The Ghost of Unrequited Love Possesses the Modern Heart: 8 Of Outlaws and Spirits: Sam Shepard’s Fool for Love (1983) and 93 107 121 Paddy Chayefsky’s Dybbuk in The Tenth Man Ben Furnish David Mamet’s Prairie du Chien (1979) and The Shawl (1985) Ann C. Hall 9 135 Literal Ghosts, Figurative Humanity and the Specter of Capitalism in August Wilsons Pittsburgh Cycle Alan Nadel 149 10 “All Spooked Out”: Topdog/Underdoģs Ghosts Jennifer Larson 163 11 Deficient Visitations: Staging Ghostliness and Irishness in Martin McDonagh’s Comedy Craig N. Owens 177 12 Holding the Dead Close: The Comfort of Ghosts in the Plays of Sarah Ruhl Amy Muse 189 13 Anishinaabe, Dakhòta, and Nimiipuu Hauntings in the Indigenous Drama of Alanis King, LeAnne Howe and Beth Piatote Margaret Noodin Index 203 221
Ghosts haunt the stages of world theatre, appearing in classical Greek drama through to the plays of 21st-century dramatists. Tracing the phenomenon across time and in different cultures, the chapters collected here examine their representation, dramatic function, and what they may tell us about the belief systems of their original audiences and the conditions of theatrical production. As illusions of illusions, they foreground many dramatic themes common to a wide variety of periods and cultures. Arranged chronologically, this collection examines how ghosts represent political change in Athenian culture in three plays by Aeschylus; their function in traditional Japanese drama; the staging of the supernatural in the dramatic liturgy of the early Middle Ages: ghosts within the dramatic works of Thomas Middleton, George Peele, and Christopher Marlowe, and the technologies employed in the 18th and 19th centuries to represent the supernatural on stage. Coverage of the dramatic representation of ghosts in the 20th and 21st centuries includes studies of Noël Coward’s Blithe Spirit, August Wilson’s Pittsburgh Cycle, plays by Sam Shepard, David Mamet, and Sarah Ruhl, Paddy Chayefsky's The Tenth Man, Suzan-Lori Parks’ Topdog/Underdog, and the spectral imprint of Shakespeare's ghosts in the Irish drama of Marina Carr, Martin McDonagh. William Butler Yeats, and Samuel Beckett. The volume closes by examining plays by three contemporary American indigenous writers, Alanis King, LeAnne Howe, and Beth Piatote. |
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| title | Dramatic apparitions and theatrical ghosts the staging of illusion across time and cultures |
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