000 03846cam a2200505 i 4500
001 1026255138
008 180301t20182017enk b 001 0 eng d
040 _aYDX
_beng
_cYDX
_dOCLCQ
_dNBU
_dOCLCF
_dUKCRE
_dOCLCQ
_dOCLCO
020 _a1350086657
020 _a9781350086654
043 _ae------
050 1 4 _aPN2582.A87
_bS38 2018
082 0 4 _a792
_223
100 1 _aSchulze, Daniel,
_eauthor.
_93397
245 1 0 _aAuthenticity in contemporary theatre and performance :
_bmake it real /
_cDaniel Schulze.
264 1 _aLondon, UK ;
_aNew York, NY :
_bBloomsbury Methuen Drama,
_c2018.
264 4 _c©2017
300 _axii, 284 pages ;
_c22 cm
336 _atext
_btxt
_2rdacontent
337 _aunmediated
_bn
_2rdamedia
338 _avolume
_bnc
_2rdacarrier
490 1 _aMethuen Drama engage
501 _aP.B
501 _aP.B
504 _aIncludes bibliographical references (pages 261-279) and indexes.
520 _a"Authenticity is one of the major values of our time. It is visible everywhere, from clothing to food to self-help books. While it is such a prevalent phenomenon, it is also very evasive. This study analyses the 'culture of authenticity' as it relates to theatre and establishes a theoretical framework for analysis. Daniel Schulze argues that authenticity is sought out and marked by the individual and springs from a culture that is perceived as inherently fake and lacking depth. The study examines three types of performances that exemplify this structure of feeling: intimate theatre seen in Forced Entertainment productions such as Quizoola! (1996, 2015), as well as one-on-one performances, such as Oentroerend Goed's Internal (2009); immersive theatres as illustrated by Punchdrunk's shows The Masque of the Red Death (2007) and The Drowned Man (2013) which provide a visceral, sensate understanding for audiences; finally, the study scrutinises the popular category of documentary theatre through various examples such as Robin Soan's Talking to Terrorists (2005), David Hare's Stuff Happens (2004), Edmund Burke's Black Watch (2007) and Dennis Kelly's pseudo-documentary play Taking Care of Baby (2007). It is specifically the value of the document that lends such performances their truth-value and consequently their authenticity. The study analyses how the success of these disparate categories of performance can be explained through a common concern with notions of truth and authenticity. It argues that this hunger for authentic, unmediated experience is characteristic of a structure of feeling that has superseded postmodernism and that actively seeks to resignify artistic and cultural practices of the everyday"--
_cProvided by publisher
505 0 _a1. In search of authenticity -- 2. Intimate theatre -- 3. Immersive theatre -- 4. Documentary theatre -- 5. An ending.
650 0 _aAuthenticity (Philosophy) in the theater
_zEurope.
_93398
650 0 _aAuthenticity (Philosophy) in literature.
_93399
650 0 _aEuropean drama
_y21st century
_xHistory and criticism.
_93400
650 6 _aAuthenticité (Philosophie) au théâtre
_zEurope.
_93401
650 6 _aAuthenticité (Philosophie) dans la littérature.
_93402
650 6 _aThéâtre européen
_y21e siècle
_xHistoire et critique.
_93403
650 7 _aAuthenticity (Philosophy) in literature.
_2fast
_0(OCoLC)fst00821636
_93399
650 7 _aAuthenticity (Philosophy) in the theater.
_2fast
_0(OCoLC)fst01982893
_93404
650 7 _aEuropean drama.
_2fast
_0(OCoLC)fst00916697
_93405
651 7 _aEurope.
_2fast
_0(OCoLC)fst01245064
_93406
648 7 _a2000-2099
_2fast
655 7 _aCriticism, interpretation, etc.
_2fast
_0(OCoLC)fst01411635
830 0 _aMethuen drama engage.
_91656
938 _aBrodart
_bBROD
_n121819175
938 _aYBP Library Services
_bYANK
_n15177488
029 1 _aNLGGC
_b431350353
942 _cBK
999 _c3971
_d3971