Theater After Film
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AlbakiReads Editorial Postwar drama in cinema’s cultural shadow
Postwar drama in cinema’s cultural shadow
Martin Harries examines how post-1945 theater confronted cinema’s dominance within mass culture. Framing the stage as a site where film’s cultural power could be exposed and contested, the book traces theatrical strategies including hyperbole and refusal without suggesting that theater could simply rival film’s reach. Critical theory and performance theory inform readings centered on Tennessee Williams, Samuel Beckett, and Adrienne Kennedy. Their work anchors discussions of spectatorship, race across film and theater, and the material apparatus of performance, placing major postwar dramatists within the changing media environment around them.
Good fit for readers who enjoy
- Students and scholars of postwar theater
- Readers interested in film and performance theory
- Those studying Tennessee Williams, Samuel Beckett, or Adrienne Kennedy
Themes
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Book Overview A study of the impact of film and mass culture on drama after World War II. In Theater after Film, Martin Harries argues that after 1945,...
In Theater after Film, Martin Harries argues that after 1945, as cinema became omnipresent in popular culture, theater had to respond to cinema's hegemony. Theater couldn't break that hegemony, but it could provide a zone of contestation. Theater made film's domination of the cultural field visible through hyperbole, refusal, and other strategies, thereby unsettling its power. Postwar theatrical experiment, Harries shows, often channeled and represented film's mass cultural force, while knowing that it could never possess that force. Throughout the book, Harries brings critical theory into contact with theories of performance. Although Theater after Film treats the theatrical work of many figures, its central focus falls on Tennessee Williams, Samuel Beckett, and Adrienne Kennedy. Discussions of these dramatists consider their ways of addressing spectators, the politics of race between film and theater, and the place of the theatrical apparatus. Readings of these central figures in twentieth-century theater exemplify the book's historical engagement with the media surround that drama confronted. This confrontation, Harries shows, was central to the development of some of the most continually compelling postwar drama.
Book Details Format: Paperback | Pages: 304 | Language: English | Publisher: UNIV OF CHICAGO PR | ISBN: 0226838714
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