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In all, De Vos leaves us with a much different sense of the Theater of Cruelty than we may be used to. Artaud's concepts and the difficulties in presenting them onstage permeate all sections of the book. But this only further strengthens his claims that Artuad's mark can be seen on Kane and Beckett. All three playwrights, and their characters, struggle with the difficulty of creating an individual identity in worlds dominated by language, but Beckett and Kane provide examples of how differently this struggle can be manifested. Comparative DramaReseña del editor:
Departing from a refreshing look at the ideas of Antonin Artaud, this book provides a thorough analysis of how both Sarah Kane and Samuel Beckett are indebted to his legacy. In juxtaposing these playwrights, De Vos minutely points out how both in their own way struggle with coming to terms with Artaud. A key concept in Lacanian psychoanalytic theories, desire lies at the root of the Theatre of Cruelty; Kane and Beckett prove that desire and cruelty are inextricably linked to one another, but that they appear in radically different disguises. Relying on Kane and Beckett, this book not only sheds a light on the precise intentions behind Artaud's project, it also maps out the structural parallels and dichotomies between the Theatre of Cruelty and the literary genre of tragedy.
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Buchbeschreibung Fairleigh Dickinson University Press, 2011. Zustand: New. book. Bestandsnummer des Verkäufers M1611470447