Barbara Ozieblo, Maria Dolores Narbona-Carrion, Marc Maufort's Codifying the National Self: Spectators, Actors, and the PDF

By Barbara Ozieblo, Maria Dolores Narbona-Carrion, Marc Maufort

ISBN-10: 0820466735

ISBN-13: 9780820466736

The theatre has consistently been the location of visionary hopes for a reformed nationwide destiny and an area for propagating rules, either cultural and political. The essays during this quantity handle the recommendations of 'Americanness' and the perceptions of the 'alien' - as handled within the paintings of Anna Cora Mowatt to Nilo Cruz.

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Additional resources for Codifying the National Self: Spectators, Actors, and the American Dramatic Text

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1926: 65, 96. Ervine, St. John. ” Theatre Magazine Mar. 1929: 20. Fearnow, Mark. ” The Cambridge History of American Theatre, Volume Two: 1870-1945. Ed. Don B. Wilmeth and Christopher Bigsby. Cambridge: Cambridge University Press, 1999. 343-77. Gabriel, Gilbert W. ” Theatre Magazine May 1926: 9. Hall, Stuart. ” People’s History and Socialist Theory. Ed. Raphael Samuel. London: Routledge & Kegan Paul, 1981. 227-40. Hammond, Percy. ” New York Tribune 20 Mar. 1923. Review File. Billy Rose Theatre Collection, New York Public Library for the Performing Arts.

The Field of Cultural Production: Essays on Art and Literature. By Pierre Bourdieu. New York: Columbia University Press, 1993. 1-25. 38 Codifying the National Self Kahl, Joseph A. The American Class Structure. New York: Rinehart, 1957. Lynd, Robert S. and Helen Merrell Lynd. Middletown: A Study in Modern American Culture. New York: Harcourt, Brace & Company, 1929. ––––. Middletown in Transition: A Study in Cultural Conflicts. 1937. New York: Harcourt Brace Jovanovich, 1965. Mantle, Burns. The Best Plays of 1922-23.

In fact, expressionism became a key signifier for the new art theater in part because it could and did refer to almost any form of theatrical experimentation (Wainscott 91-93). Its externalization of psychic process made it an auspicious theatrical mode in what was, after all, the age of Freud. And its use of abstraction, distortion, and fragmentation – of character, language, plot, and setting – provided an ideal set of conventions for an art theater anxious to embrace modernism and distinguish itself clearly from mass-cultural forms.

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Codifying the National Self: Spectators, Actors, and the American Dramatic Text by Barbara Ozieblo, Maria Dolores Narbona-Carrion, Marc Maufort


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