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Comic Theaters
In Comic Theaters, William E. Gruber draws dramatic criticism beyond its traditional emphasis on the play's text toward a theory of theater that more fully incorporates performance. The bare text is clothed in the cultural norms and conceptions of both actor and audience in performance; in the conversion of words into action; in the actor's creation of his role; and in the audience's involvement with the scenes on stage. Reinterpreting six comedies taken from classical Greek, Renaissance, and modern repertories, Gruber shows how dramatic meaning is derived not from traditional criteria, archetypal motifs, or unchanging affective responses, but from changing concepts of theater and changing configurations of actor and role.
Missing Persons
In the hands of the twentieth century's most innovative dramatists, characters have revealed their identities on stage in a variety of unconventional ways: they speak with electronic voices or engage in solipsistic monologues; they are lost in self-conscious third-person forms of communicating or are expressed simply as movement, sound, and decor. Missing Persons is a study of character and its representation on the modern stage. Within broad literary contexts, William E. Gruber addresses specific questions about the dramatis personae of the playwrights Gordon Craig, Bertolt Brecht, Samuel Beckett, Thomas Bernhard, and Maria Fornes. Among the questions Gruber considers are why mechanical act...
Congressional Record
The Congressional Record is the official record of the proceedings and debates of the United States Congress. It is published daily when Congress is in session. The Congressional Record began publication in 1873. Debates for sessions prior to 1873 are recorded in The Debates and Proceedings in the Congress of the United States (1789-1824), the Register of Debates in Congress (1824-1837), and the Congressional Globe (1833-1873)
Missing Persons
Among the questions Gruber considers are why mechanical actors or the abrupt dislocations of oriental acting styles meant so much to dramatists as different as Brecht and Craig; why figures in Beckett's late plays are so often flat, schematized, heraldic; and why such contemporary dramatists as Fornes and Bernhard share a profound fascination with the mechanics of theatrical representation - quoting, reciting, reproducing, or impersonating an absent text. The figures who move across these stages are frail, contradictory, occasionally mutilated, or even dismembered. They are grim reminders, says Gruber, that the individual's place in the world is not as secure or as central as we imagine it once was. "Yet character," Gruber argues, "remains for these authors a crucial element of drama, even if it is more fragile, more ghostly, more enigmatic than ever before."
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Borderwork
The first book to assess the impact of feminist criticism on comparative literature, Borderwork recharts the intellectual and institutional boundaries on that discipline and calls for the contextualization of the study of comparative literature within the areas of discourse, culture, ideology, race, and gender.
Totalitarianism on Screen
From its creation in 1950, to the fall of the Berlin Wall in 1989, the German Democratic Republic’s Ministry for State Security closely monitored its nation’s citizens. Known as the Staatssicherheit or Stasi, this organization was regarded as one of the most repressive intelligence agencies in the world. Florian Henckel von Donnersmarck’s 2006 film The Lives of Others (Das Leben der Anderen) has received international acclaim—including an Academy Award, an Independent Spirit Award, and multiple German Film Awards—for its moving portrayal of East German life under the pervasive surveillance of the Stasi. In Totalitarianism on Screen, political theorists Carl Eric Scott and F. Flagg ...
