Watching War on the Twenty-First Century Stage: Spectacles of Conflict (Engage) [Paperback] Delijani, Clare Finburgh; Brater, Enoch and Taylor-Batty, Mark

Delijani, Clare Finburgh; Brater, Enoch [Series Editor]; Taylor-Batty, Mark [Series Editor];

ISBN 10: 1350099414 / ISBN 13: 9781350099418

Published by Methuen Drama, 2019

About this Item

Never read, no marks in the text. Our copy is a new paperback showing light shelfwear.

Seller Inventory # 19-0814-115-66

Bibliographic Details

• Title: Watching War on the Twenty-First Century Stage: Spectacles of Conflict (Engage) [Paperback] Delijani, Clare Finburgh; Brater, Enoch and Taylor-Batty, Mark
• Publisher: Methuen Drama
• Publication Date: 2019
• Language: English
• ISBN 10: 1350099414
• ISBN 13: 9781350099418
• Binding: Paperback
• Condition: As New
• Weight: 16 ounces
• Seller catalogs:
  • Theatre/Performance

About this title

Synopsis

What do we watch when we watch war? Who manages public perceptions of war and how? Watching War on the Twenty-First-Century Stage: Spectacles of Conflict is the first publication to examine how theatre in the UK has staged, debated and challenged the ways in which spectacle is habitually weaponized in times of war. The 'battle for hearts and minds' and the 'war of images' are fields of combat that can be as powerful as armed conflict. And today, spectacle and conflict – the two concepts that frame the book – have joined forces via audio-visual technologies in ways that are more powerful than ever.

Clare Finburgh's original and interdisciplinary interrogation provides a richly provocative account of the structuring role that spectacle plays in warfare, engaging with the works of philosopher Guy Debord, cultural theorist Jean Baudrillard, visual studies specialist Marie-José Mondzain and performance scholar Hans-Thies Lehmann. She offers coherence to a large and expanding field of theatrical war representation by analyzing in detail a spectrum of works, including expressionist drama, comedy and dance theatre. She demonstrates how features unique to the theatrical art, namely the construction of a fiction in the presence of the audience, can present possibilities for a more informed engagement with how spectacles of war are produced and circulated.

About the Authors

Clare Finburgh is an academic in the department of Theatre and Performance at Goldsmiths, University of London, UK. Her research focuses on French, Francophone and UK contemporary performance, notably innovations in French modern and contemporary playwriting anddirecting; and representations of conflict in UK theatre. She has co-written Jean Genet (with David Bradby, 2011), and co-edited Genet: Performance and Politics (2006) and Contemporary French Theatre and Performance (2011).

Mark Taylor-Batty is Associate Professor of Theatre Studies and Deputy Head of School in the School of English at the University of Leeds, UK. His previous publications include The Theatre of Harold Pinter (Bloomsbury, 2014), About Pinter: The Playwright and the Work (Faber and Faber, 2005), Roger Blin: Collaborations and Methodologies (Peter Lang, 2007) and, he co-authored with his wife, Juliette Taylor-Batty, Samuel Beckett's Waiting for Godot (Continuum, 2009).

Enoch Brater is the Kenneth T. Rowe Collegiate Professor of Dramatic Literature, Professor of English and Theater at the University of Michigan and the series editor of Methuen Drama's Miller scholarly editions. He has written extensively on the work of Samuel Beckett and Arthur Miller.

Enoch Brater is the Kenneth T. Rowe Collegiate Professor of Dramatic Literature, Professor of English and Theater at the University of Michigan. He is series editor of Methuen Drama's Arthur Miller scholarly editions, and with Mark Taylor-Batty of Methuen Drama's Engage series. He has written extensively on the work of Samuel Beckett and Arthur Miller.