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Performance, subjectivity, cosmopoli...

Meerzon, Yana.

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Performance, subjectivity, cosmopolitanism

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Performance, subjectivity, cosmopolitanism/ by Yana Meerzon.
作者:	Meerzon, Yana.
出版者:	Cham :Springer International Publishing : : 2020.,
面頁冊數:	x, 290 p. :ill., digital ;24 cm.
內容註:	1. Introduction: Setting the Stage - Performing the Divided Self of a New Cosmopolitanism -- 2. Chapter One: Dramaturgies of the Self: Staging the Decalage of Vernacular Cosmopolitanism -- 3. Chapter Two: 'Speaking in Tongues': Staging Hospitality of (Non)Translation -- 4. Chapter Three: Dramaturgies of the Body: Staging Stranger-Fetishism in a Cosmopolitan Solo Performance -- 5. Chapter Four: Staging Cosmoprolis - Constructing the Chorus Play -- 6. Chapter Five: Dramaturgies of the Gaze: On the Intimate Realities of Cosmopolitanism -- 7. Chapter Six: Staging Affective Citizenship - Constructing Communities of Hope -- 8. Chapter Seven: How to Be a Cosmopolitan: Concluding Remarks.
Contained By:	Springer Nature eBook
標題:	Cosmopolitanism. -
電子資源:	https://doi.org/10.1007/978-3-030-41410-8
ISBN:	9783030414108

Performance, subjectivity, cosmopolitanism
Meerzon, Yana.

Performance, subjectivity, cosmopolitanism[electronic resource] /by Yana Meerzon. - Cham :Springer International Publishing :2020. - x, 290 p. :ill., digital ;24 cm.

1. Introduction: Setting the Stage - Performing the Divided Self of a New Cosmopolitanism -- 2. Chapter One: Dramaturgies of the Self: Staging the Decalage of Vernacular Cosmopolitanism -- 3. Chapter Two: 'Speaking in Tongues': Staging Hospitality of (Non)Translation -- 4. Chapter Three: Dramaturgies of the Body: Staging Stranger-Fetishism in a Cosmopolitan Solo Performance -- 5. Chapter Four: Staging Cosmoprolis - Constructing the Chorus Play -- 6. Chapter Five: Dramaturgies of the Gaze: On the Intimate Realities of Cosmopolitanism -- 7. Chapter Six: Staging Affective Citizenship - Constructing Communities of Hope -- 8. Chapter Seven: How to Be a Cosmopolitan: Concluding Remarks.

This book looks at the connection between contemporary theatre practices and cosmopolitanism, a philosophical condition of social behaviour based on our responsibility, respect, and healthy curiosity to the other. Advocating for cosmopolitanism has become a necessity in a world defined by global wars, mass migration, and rise of nationalism. Using empathy, affect, and telling personal stories of displacement through embodied encounter between the actor and their audience, performance arts can serve as a training ground for this social behavior. In the centre of this encounter is a new cosmopolitan: a person of divided origins and cultural heritage, someone who speaks many languages and claims different countries as their place of belonging. The book examines how European and North American theatres stage this divided subjectivity: both from within, the way we tell stories about ourselves to others, and from without, through the stories the others tell about us.

ISBN: 9783030414108

Standard No.: 10.1007/978-3-030-41410-8doiSubjects--Topical Terms:

590679
Cosmopolitanism.

LC Class. No.: JZ1308 / .M447 2020

Dewey Class. No.: 306

Performance, subjectivity, cosmopolitanism
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505 0 $a 1. Introduction: Setting the Stage - Performing the Divided Self of a New Cosmopolitanism -- 2. Chapter One: Dramaturgies of the Self: Staging the Decalage of Vernacular Cosmopolitanism -- 3. Chapter Two: 'Speaking in Tongues': Staging Hospitality of (Non)Translation -- 4. Chapter Three: Dramaturgies of the Body: Staging Stranger-Fetishism in a Cosmopolitan Solo Performance -- 5. Chapter Four: Staging Cosmoprolis - Constructing the Chorus Play -- 6. Chapter Five: Dramaturgies of the Gaze: On the Intimate Realities of Cosmopolitanism -- 7. Chapter Six: Staging Affective Citizenship - Constructing Communities of Hope -- 8. Chapter Seven: How to Be a Cosmopolitan: Concluding Remarks.
520 $a This book looks at the connection between contemporary theatre practices and cosmopolitanism, a philosophical condition of social behaviour based on our responsibility, respect, and healthy curiosity to the other. Advocating for cosmopolitanism has become a necessity in a world defined by global wars, mass migration, and rise of nationalism. Using empathy, affect, and telling personal stories of displacement through embodied encounter between the actor and their audience, performance arts can serve as a training ground for this social behavior. In the centre of this encounter is a new cosmopolitan: a person of divided origins and cultural heritage, someone who speaks many languages and claims different countries as their place of belonging. The book examines how European and North American theatres stage this divided subjectivity: both from within, the way we tell stories about ourselves to others, and from without, through the stories the others tell about us.
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