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Anti-war theatre after Brecht = dial...

Stevens, Lara.

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Anti-war theatre after Brecht = dialectical aesthetics in the twenty-first century /

Record Type:	Electronic resources : Monograph/item
Title/Author:	Anti-war theatre after Brecht/ by Lara Stevens.
Reminder of title:	dialectical aesthetics in the twenty-first century /
remainder title:	Anti-war theater after Brecht
Author:	Stevens, Lara.
Published:	London :Palgrave Macmillan UK : : 2016.,
Description:	x, 224 p. :digital ;22 cm.
[NT 15003449]:	Introduction -- Chapter 1. Performing the 'War on Terror' -- Chapter 2. From Epic to Dialectical Theatre -- Chapter 3. Tony Kushner's Homebody/Kabul and Only We Who Guard the Mystery Shall be Unhappy -- Chapter 4. The Theatre du Soleil's Le Dernier Caravanserail -- Chapter 5. Caryl Churchill's Iraq.doc and Seven Jewish Children: A Play For Gaza -- Chapter 6. Elfriede Jelinek's Bambiland -- Conclusion -- Bibliography.
Contained By:	Springer eBooks
Subject:	War on Terrorism, 2001-2009, in literature. -
Online resource:	http://dx.doi.org/10.1057/978-1-137-53888-8
ISBN:	9781137538888

Anti-war theatre after Brecht = dialectical aesthetics in the twenty-first century /
Stevens, Lara.

Anti-war theatre after Brechtdialectical aesthetics in the twenty-first century /[electronic resource] :Anti-war theater after Brechtby Lara Stevens. - London :Palgrave Macmillan UK :2016. - x, 224 p. :digital ;22 cm.

Introduction -- Chapter 1. Performing the 'War on Terror' -- Chapter 2. From Epic to Dialectical Theatre -- Chapter 3. Tony Kushner's Homebody/Kabul and Only We Who Guard the Mystery Shall be Unhappy -- Chapter 4. The Theatre du Soleil's Le Dernier Caravanserail -- Chapter 5. Caryl Churchill's Iraq.doc and Seven Jewish Children: A Play For Gaza -- Chapter 6. Elfriede Jelinek's Bambiland -- Conclusion -- Bibliography.

Examining the ways in which contemporary Western theatre protests against the 'War on Terror', this book analyses six twenty-first century plays that respond to the post-9/11 military operations in Afghanistan, Iraq and Palestine. The plays are written by some of the most significant writers of this century and the last including Elfriede Jelinek, Caryl Churchill, Helene Cixous and Tony Kushner. Anti-war Theatre After Brecht grapples with the problem of how to make theatre that protests the policies of democratically elected Western governments in a post-Marxist era. It shows how the Internet has become a key tool for disseminating anti-war play texts and how online social media forums are changing traditional dramatic aesthetics and broadening opportunities for spectator access, engagement and interaction with a work and the political alternatives it puts forward.

ISBN: 9781137538888

Standard No.: 10.1057/978-1-137-53888-8doiSubjects--Topical Terms:

2200196
War on Terrorism, 2001-2009, in literature.

LC Class. No.: PN2041.W37 / S74 2016

Dewey Class. No.: 809.293581

Anti-war theatre after Brecht = dialectical aesthetics in the twenty-first century /
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505 0 $a Introduction -- Chapter 1. Performing the 'War on Terror' -- Chapter 2. From Epic to Dialectical Theatre -- Chapter 3. Tony Kushner's Homebody/Kabul and Only We Who Guard the Mystery Shall be Unhappy -- Chapter 4. The Theatre du Soleil's Le Dernier Caravanserail -- Chapter 5. Caryl Churchill's Iraq.doc and Seven Jewish Children: A Play For Gaza -- Chapter 6. Elfriede Jelinek's Bambiland -- Conclusion -- Bibliography.
520 $a Examining the ways in which contemporary Western theatre protests against the 'War on Terror', this book analyses six twenty-first century plays that respond to the post-9/11 military operations in Afghanistan, Iraq and Palestine. The plays are written by some of the most significant writers of this century and the last including Elfriede Jelinek, Caryl Churchill, Helene Cixous and Tony Kushner. Anti-war Theatre After Brecht grapples with the problem of how to make theatre that protests the policies of democratically elected Western governments in a post-Marxist era. It shows how the Internet has become a key tool for disseminating anti-war play texts and how online social media forums are changing traditional dramatic aesthetics and broadening opportunities for spectator access, engagement and interaction with a work and the political alternatives it puts forward.
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