By K. Sieg
The booklet explores eu artists' severe engagement with the photographs and tales that politicians and the media use to suggest globalization.
Read or Download Choreographing the Global in European Cinema and Theater (Studies in European Culture and History) PDF
Similar theater books
"A attention-grabbing heritage of a superb previous theatre. " - Hume Cronyn In September of 1901 London's New Grand Opera condominium flung open its doorways. Boasting a gorgeous inside layout, and with the main glossy degree gear on hand, the theatre was once big enough to house over 1,700 buyers and the most important traveling exhibits of the time.
This e-book explores the way the modern proliferation of varieties of storytelling perform in foreign theatre has created a particular set of functionality practices. Texts and performers mentioned contain cut up Britches, Billy Connolly, Anna Deavere Smith's allow Me Down effortless, Spalding grey, David Hare's through Dolorosa
This e-book explores the position and centrality of ladies within the improvement of collaborative theatre perform, along the importance of collective production and devising within the improvement of the trendy theatre. Tracing an online of ladies theatremakers in Europe and North the United States, this ebook explores the connections among early 20th century collective theatre practices resembling employees theatre and the dramatic play circulation, and the next unfold of theatrical devising.
- The Art of Clowning
- Applied Theatre: Development
- Theatre of Movement and Gesture
- No Safe Spaces Re-casting Race, Ethnicity, and Nationality in American Theater
- Theory of Performing Arts
Extra resources for Choreographing the Global in European Cinema and Theater (Studies in European Culture and History)
The cinematic culture industries are thus part and parcel of the political and economic transformations the films depict. The question I want to pursue through a series of exemplary readings in this chapter is whether the Hollywood model of cinematic production marked by commercial profitability and political conformity indeed provides less opportunity for a critique of global capitalism than the German tradition of state-supported artistic independence and what the consequences and implications are of the 32 Choreographing the Global “sublation” of national cinema in the European film industry today (Halle 2002).
Rather than calling the validity of his thesis into doubt, Schumpeter’s followers explained the cataclysmic wars that did take place in the twentieth century by interpreting imperialist mentalities as social and psychological holdovers from the past. The functionalist model of European integration under the primacy of economics would similarly forge a rhetoric of progress by contrasting free trade in a global market as peaceful and democratic, against the imperialist aggression associated with the nation-state of the past.
17 That conflict reinvigorated the familiar terms of European-American cultural competition, however, at a time when the media business was undergoing changes not just in the United States but worldwide. Europeans’ accusation of American cultural imperialism on that occasion, however, constructs a political hegemony that disavows both the dispersal of Hollywood across international production sites and the rise of transnational media conglomerates in Europe during the 1980s and ’90s. Vivendi-Universal’s acquisition of Canal+, Europe’s most active and successful studio that produced Klapisch’s Europudding, exemplifies this development.