Metatheater and Modernity: Baroque and Neobaroque

Frese Witt, Mary Ann

Published by Fairleigh Dickinson
ISBN 10: 1611477301 / ISBN 13: 9781611477306
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Metatheater and Modernity is the first book to link the concept of metatheater with those of baroque and neobaroque. It refines and probes these concepts through close analyses and comparisons of seventeenth- with twentieth-century plays. Authors discussed include Rotrou, Sartre, Kushner, Bernini, Shakespeare, Pirandello, Moliere, Giraudoux. Num Pages: 202 pages. BIC Classification: 2ADF; 2ADT; 3JD; 3JJ; DSBD; DSBH; DSG. Category: (P) Professional & Vocational. Dimension: 230 x 156 x 15. Weight in Grams: 300. . 2014. Paperback. . . . . Books ship from the US and Ireland. Bookseller Inventory #

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Synopsis: Metatheater and Modernity: Baroque and Neobaroque is the first work to link the study of metatheater with the concepts of baroque and neobaroque. 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. The comparisons include Jean Rotrou’s The True Saint Genesius with Jean-Paul Sartre’s Kean and Jean Genet’s The Blacks; Pierre Corneille’s L’Illusion comique with Tony Kushner’s The Illusion; Gian Lorenzo Bernini’s The Impresario with Luigi Pirandello’s theater-in-theater trilogy; Shakespeare’s Hamlet with Pirandello’s Henry IV and Tom Stoppard’s Rosencrantz and Guildenstern are Dead; Molière’s Impromptu de Versailles with “impromptus” by Jean Cocteau, Jean Giraudoux, and Eugène Ionesco. Metatheater and Modernity also examines the role of technology in the creating and breaking of illusions in both centuries. In contrast to previous work on metatheater, it emphasizes the metatheatrical role of comedy. 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.

About the Author: Mary Ann Frese Witt received her PhD in Comparative Literature from Harvard University and is now professor emerita at North Carolina State University.

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Title: Metatheater and Modernity: Baroque and ...
Publisher: Fairleigh Dickinson
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Book Description Fairleigh Dickinson University Press. Paperback. Book Condition: new. BRAND NEW, Metatheater and Modernity: Baroque and Neobaroque, Mary Ann Frese Witt, Metatheater and Modernity: Baroque and Neobaroque is the first work to link the study of metatheater with the concepts of baroque and neobaroque. 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. The comparisons include Jean Rotrou's The True Saint Genesius with Jean-Paul Sartre's Kean and Jean Genet's The Blacks; Pierre Corneille's L'Illusion comique with Tony Kushner's The Illusion; Gian Lorenzo Bernini's The Impresario with Luigi Pirandello's theater-in-theater trilogy; Shakespeare's Hamlet with Pirandello's Henry IV and Tom Stoppard's Rosencrantz and Guildenstern are Dead; Moliere's Impromptu de Versailles with "impromptus" by Jean Cocteau, Jean Giraudoux, and Eugene Ionesco. Metatheater and Modernity also examines the role of technology in the creating and breaking of illusions in both centuries. In contrast to previous work on metatheater, it emphasizes the metatheatrical role of comedy. 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. Bookseller Inventory # B9781611477306

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Book Description Fairleigh Dickinson University Press, United States, 2014. Paperback. Book Condition: New. Language: English . Brand New Book. Metatheater and Modernity: Baroque and Neobaroque is the first work to link the study of metatheater with the concepts of baroque and neobaroque. 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. The comparisons include Jean Rotrou s The True Saint Genesius with Jean-Paul Sartre s Kean and Jean Genet s The Blacks; Pierre Corneille s L Illusion comique with Tony Kushner s The Illusion; Gian Lorenzo Bernini s The Impresario with Luigi Pirandello s theater-in-theater trilogy; Shakespeare s Hamlet with Pirandello s Henry IV and Tom Stoppard s Rosencrantz and Guildenstern are Dead; Moliere s Impromptu de Versailles with impromptus by Jean Cocteau, Jean Giraudoux, and Eugene Ionesco. Metatheater and Modernity also examines the role of technology in the creating and breaking of illusions in both centuries.In contrast to previous work on metatheater, it emphasizes the metatheatrical role of comedy. 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. Bookseller Inventory # AAR9781611477306

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Book Description Fairleigh Dickinson University Press, United States, 2014. Paperback. Book Condition: New. Language: English . Brand New Book. Metatheater and Modernity: Baroque and Neobaroque is the first work to link the study of metatheater with the concepts of baroque and neobaroque. 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. The comparisons include Jean Rotrou s The True Saint Genesius with Jean-Paul Sartre s Kean and Jean Genet s The Blacks; Pierre Corneille s L Illusion comique with Tony Kushner s The Illusion; Gian Lorenzo Bernini s The Impresario with Luigi Pirandello s theater-in-theater trilogy; Shakespeare s Hamlet with Pirandello s Henry IV and Tom Stoppard s Rosencrantz and Guildenstern are Dead; Moliere s Impromptu de Versailles with impromptus by Jean Cocteau, Jean Giraudoux, and Eugene Ionesco. Metatheater and Modernity also examines the role of technology in the creating and breaking of illusions in both centuries.In contrast to previous work on metatheater, it emphasizes the metatheatrical role of comedy. 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. Bookseller Inventory # AAR9781611477306

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