MARC record from Internet Archive

LEADER: 04149cam 2200721 a 4500
001 ocm38535923
003 OCoLC
005 20200802204552.0
008 980209s1998 miu b s001 0 eng
010 $a 98008970
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020 $a0472108727$q(acid-free paper)
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035 $a(OCoLC)38535923
050 00 $aPN1623$b.W35 1998
082 00 $a809.2/04$221
084 $aEC 4720$2rvk
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100 1 $aWatt, Stephen,$d1951-
245 10 $aPostmodern/drama :$breading the contemporary stage /$cStephen Watt.
260 $aAnn Arbor :$bUniversity of Michigan Press,$c©1998.
300 $aviii, 220 pages ;$c24 cm.
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
490 1 $aTheater--theory/text/performance
504 $aIncludes bibliographical references (pages 189-212) and index.
505 0 $aIntroduction: the problematics of a phrase -- Postmodern/drama, or the bankrupt logic of an empty marker -- Reading, articulation, and postmodernism: novels, postcards, and buildings -- A peristalsis of dim light: Joyce, Beckett, and postmodernism -- Rereading Harold Pinter -- Baudrillard's America (and ours?): the view from the stage -- In the "heat of the image": consuming subjects on the contemporary stage -- Notes -- Index.
530 $aAlso issued online.
520 $aPostmodern/Drama scrutinizes the critical tendency to label texts or writers as "postmodern" and delineates what it might mean to "read" drama more "postmodernly." That is to say, this book resists interpretive gestures that would label writers like Samuel Beckett as a modernist, existentialist, absurdist, or postmodernist, and instead asks in what ways Beckett's plays open themselves to readings that might be termed postmodern in emphasis. Along the way, the author offers sustained analyses of such dramatists as Harold Pinter, David Rabe, David Mamet, Arthur Kopit, Cherrie Moraga, Luis Valdez, Sam Shepard, Karen Finley, and others.
520 8 $aIn addition to the dramatists it explores, the book considers novels by Samuel Beckett, Italo Calvino, and Don DeLillo; films by George Huang and Robert Altman; and commentary on postmodernity by Jean Baudrillard and Fredric Jameson. In the end, the postmodernity of contemporary drama is shown as less a question of genre or media than of a certain mode of subjectivity shared and contested by playwrights, producers, and audiences.
650 0 $aDrama$xHistory and criticism.
650 0 $aPostmodernism (Literature)
650 7 $aDrama.$2fast$0(OCoLC)fst00897468
650 7 $aPostmodernism (Literature)$2fast$0(OCoLC)fst01073181
650 07 $aDrama.$0(DE-588)4012899-4$2gnd
650 07 $aEnglisch.$0(DE-588)4014777-0$2gnd
650 07 $aPostmoderne.$0(DE-588)4115604-3$2gnd
650 07 $aDrama.$2swd
650 07 $aPostmoderne.$2swd
651 7 $aEnglisch.$2swd
648 7 $aGeschichte 1930-1998$2swd
648 4 $aGeschichte 1930-1998.
655 7 $aCriticism, interpretation, etc.$2fast$0(OCoLC)fst01411635
776 08 $iOnline version:$aWatt, Stephen, 1951-$tPostmodern/drama.$dAnn Arbor : University of Michigan Press, ©1998$w(OCoLC)645897645
830 0 $aTheater--theory/text/performance.
856 42 $3Publisher description$uhttp://catdir.loc.gov/catdir/description/umich051/98008970.html
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948 $hNO HOLDINGS IN P4A - 445 OTHER HOLDINGS