Theater in a post-truth world texts, politics, and performance

"This is the first book to examine how the concept and disagreements around "post-truth" have been explored in the world of theater and performance. This ranges from the plays of Caryl Churchill, Anne Washburn, and David Henry Hwang, to the inherent theatricality of press conferences,...

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Weitere Verfasser: Boles, William C. 1966- (HerausgeberIn)
Format: Buch
Sprache:English
Veröffentlicht: London ; New York ; Oxford ; New Delhi ; Sydney Methuen Drama 2024
Schriftenreihe:Methuen Drama agitations: text, politics and performances
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Datensatz im Suchindex

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adam_text Contents Acknowledgments ix Post-Truth: A Brief Introduction 1 William C. Boles Part 1 1 Text Post-Truth but Not Post-Race: The Repeating Realities of Anna Deavere Smith’s Twilight: Los Angeles, 1992 39 Heidi E. Bollinger 2 Knowing Not What It “Seems”: Re-Viewing Caryl Churchill’s Post-Truth World in Glass, Kill, Bluebeards Friends, and Imp 58 Mamata Sengupta Part 2 3 Politics The Alternative Realities of David Henry Hwang’s Sofi Power and Anne Washburn’s Shipwreck 4 William C. Boles Negotiating the Fifth Wall 5 Lynn Deboeck When the Play Is Not the Thing: The Mueller Report and the Limits of Documentary Drama 77 96 114 Victoria Scrimer Part 3 6 Performance Australian Biographical Theater on the Post-Truth Stage Stephen Carleton and Chris Hay 135 Contents viii 7 Performing Reality: Tina Satter’s Verbatim Staging of an FBI Transcript in Is Uns A Room 155 Helen Georgas 8 Seductive Frames: Digital Aesthetics in Kip Williams's Staging of Bertolt Brecht’s The Resistible Rise ofArturo Ui (2018) 176 Susanne Uiurow 9 Satanic Panic: Performance in the New Culture War 196 Lewis Church Notes on Contributors Index 217 221 This is the first book to examine how the concept and disagreements around post-truth have been explored in the world of theater and performance. It covers a wide spectrum of manifestations and expressions— from the plays of Caryl Churchill, Anne Washburn, and David Henry Hwang, to the inherent theatricality of press conferences, FBI interviews and protests, and theatrical performance itself, where the nature of truth is challenged through staged visuals which run counter to what the audience hears, provoking a debate about where the truth actually lies. With contributions by scholars from around the world. Theater in a Post-Truth World considers a wide array of examples from American and British drama and politics, Australian theater, and the work of performance artist Marina Abramovic. Together these provide'a glimpse into how the theater in its many forms provides a venue to raise awareness and encourage critical thinking about the contemporary ubiquity of post-truth. WILLIAM C. BOLES holds the Hugh F. and Jeannette G. McKean Chair of English at Rollins College, USA.
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title Theater in a post-truth world texts, politics, and performance
title_auth Theater in a post-truth world texts, politics, and performance
title_exact_search Theater in a post-truth world texts, politics, and performance
title_full Theater in a post-truth world texts, politics, and performance edited by William C. Boles
title_fullStr Theater in a post-truth world texts, politics, and performance edited by William C. Boles
title_full_unstemmed Theater in a post-truth world texts, politics, and performance edited by William C. Boles
title_short Theater in a post-truth world
title_sort theater in a post truth world texts politics and performance
title_sub texts, politics, and performance
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