Comedy and the public sphere the rebirth of theatre as comedy and the genealogy of the modern public arena
| Main Author: | |
|---|---|
| Format: | eBook |
| Language: | Inglés |
| Published: |
New York :
Routledge
2013.
|
| Series: | Routledge studies in social and political thought ;
77 |
| Subjects: | |
| Online Access: | https://recursos.uloyola.es/login?url=https://accedys.uloyola.es:8443/accedix0/sitios/ebook.php?id=133875 |
| See on Universidad Loyola - Universidad Loyola Granada: | https://colectivo.uloyola.es/Record/ELB133875 |
Request an interlibrarian loan:
Email
Table of Contents:
- Introduction
- The public sphere as a theatrical arena of mocking contest: comedy, mask, laughter. The public and its masks: permanent hyper-critique and hypocritical performance
- Nietzsche's intuitions: from theatre through humanist philology to Richard Wagner, or the genealogy of the modern world as stage
- Ridiculing as public weapon
- The rebirth of theatre as comedy out of the spirit of the Byzantium
- The Byzantine spirit and its sources. Transmitting, receiving and nurturing the Byzantine spirit
- The rise of theatre in Venice
- The effect mechanism of Commedia dell'Arte: visions and realities of commedification
- Commedia dell'Arte: schismogenic sub-plots and irresistible stock-types
- Shakespeare: the tragedy of world history being a comedy
- Representing representation: visionary images of Commedia dell'Arte
- The rebirth of Commedia dell'Arte as the Avant-garde. The rebirth of Pierrot as suffering victim
- Obsessed with Paris and public fame: Richard Wagner, the mimomaniac revolutionary
- Pierrot and Pulcinella in between Paris and Petersburg: the Avant-Garde of Diaghilev and Meyerhold
- Conclusion.
