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Reassessing the Theatre of the Absurd

Camus, Beckett, Ionesco, Genet, and Pinter
BuchGebunden
179 Seiten
Englisch
Springer Palgrave Macmillanerschienen am31.03.20112011
Fifty years after the publication of Martin Esslin's The Theatre of the Absurd , which suggests that 'absurd' plays purport the meaninglessness of life, this book uses the works of five major playwrights of the 1950s to provide a timely reassessment of one of the most important theatre 'movements' of the 20th century.mehr
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EUR53,49
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Produkt

KlappentextFifty years after the publication of Martin Esslin's The Theatre of the Absurd , which suggests that 'absurd' plays purport the meaninglessness of life, this book uses the works of five major playwrights of the 1950s to provide a timely reassessment of one of the most important theatre 'movements' of the 20th century.
ZusammenfassungOffers alternative readings to canonical textsBennett's text is a 50-years-later reexamination of the landmark theatre studies text, The Theatre of the AbsurdWritten in an approachable style using well known plays that students will be familiar with
Details
ISBN/GTIN978-0-230-11338-1
ProduktartBuch
EinbandartGebunden
Erscheinungsjahr2011
Erscheinungsdatum31.03.2011
Auflage2011
Seiten179 Seiten
SpracheEnglisch
Gewicht379 g
IllustrationenIX, 179 p.
Artikel-Nr.12734365
Rubriken
GenreKunst/Architektur

Inhalt/Kritik

Inhaltsverzeichnis
Introduction: Reassessing the Theatre of the Absurd 'The Parable of Estagon's Struggle with the Boot' in Waiting for Godot The Pinteresque Oedipal Household: The Interrogation Scene(s) in The Birthday Party The Parable of the White Clown: The Use of Ritual in Jean Genet's The Blacks: A Clown Show Berenger, The Sisyphean Hero Conclusion: Theorizing a 'Female Absurd' in Beth Henley's Crimes of the Heart as a Means of Reassessing the Theatre of the Absurdmehr
Kritik
"Michael Y. Bennett's new book, Reassessing the Theatre of the Absurd, is an ambitious text fifty years in the making . . . [It] is a terrific first book. Bennett's bravery in challenging the theoretical canon is a great example to follow." - Journal of Modern Literature

"In Reassessing the Theatre of the Absurd: Camus, Beckett, Ionesco, Genet, and Pinter, Michael Y. Bennett turns Esslin's text on its head to offer more nuanced, more hopeful analyses of these canonical playwrights . . . Not only does he offer provocative, convincing readings of these plays, he also broadens his analysis to include works by contemporaries of the original 'absurdists,' and by those of different historical moments and/or gender. This move not only extends his interpretive framework beyond the oft covered territory that is the focus of this book, it also extends the life of his analysis. Bennett's work is strengthened by the fact that his writing style is approachable and his work well signposted." - Theatre Survey

"[Bennett] offers a number of intriguing and insightful readings of these [absurdist] plays and playwrights . . . Throughout [Reassessing the Theatre of the Absurd], Bennett is effectively practicing a structural model of reading these works traditionally labeled as 'Absurdist,' and his reassessment of the Theatre of the Absurd through the lens of parable offers a unique new vision of these well-studied works. Undoubtedly, Bennett's analyses will prove intriguingfor the theatre or literature scholar interested in the Theatre of the Absurd." - Journal of Dramatic Theory and Criticism

"The plays discussed by Esslin and Bennett, including their works - The Theatre of the Absurd and Reassessing the Theatre of the Absurd respectively - make a 'double reed flute' . . . To the audiences used to listening to the melody that echoes the experimentations in the domain of dramaturgy and theatre art of the 1940s and 1950s in Europe, Bennett's work secretly tells them to listen to another melody. The melody that Bennett is trying to make us hear tells that beyond the moribund situation in our life and society, there is always hope . . . Bennett and Esslin do not replace each other but form a cohort . . . With one end we listen to a melody composed in 1960s, and from another end, we listen to the one orchestrated by a very talented theater critic from the young generation of our times." - Journal of Philosophy: A Cross-Disciplinary Inquiry

"In the chapters following the introductory debates, Bennett moves . . . to a more detailed examination of each individual play, and in this scrupulous analysis, I believe, lies the strength of this critical study . . . I applaud the author's attempts at vigorous reassessment of standard idioms and traditional methodologies in broadening an established canon of absurdist drama." - Text & Presentationmehr

Autor

Michael Y. Bennett is Associate Professor of English at the University of Wisconsin-Whitewater, USA, where he teaches courses on modern drama. He is the author of Reassessing the Theatre of the Absurd (2011/2013), Words, Space, and the Audience (2012), and Narrating the Past through Theatre (2012). He is the editor of Refiguring Oscar Wilde's Salome (2011); and the co-editor of Eugene O'Neill's One-Act Plays: New Critical Perspectives (2012) as well as editor of The Edward Albee Review .