PoMo Problems : Stoppard Files :
Collage (Montage) instead of death of acting (Realism)
"Conceptualism" (Method and Style?)
... see right table, bottom.
Hamletmachine online in-class.
Postmodern & Cinema [filmplus.org/600]
* 2006: POMO Project -- Pinter + Mamet (Gender)
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After 1968 and After... [413nts Glossary] Postmodernism (POMO or PM): I try to cllectct all the pages, like POMO in POV.
Warning: POMO is asystematic in princle. It's a contradiction -- Post-Modern? It knows no chronology, right? If you have some background in physics and math, you are lucky, they are using those laws for almost a century (unfortunally, they can't write): QM, Relativity, theory of big numbers, chios theory -- pm writers try to translate the formulas. It's not easy, since pomo rejects "philosophy" (and everything else in classical terms). What can I say? Sure, I would love to see Nietzsche not only in the bookstores, but our airports as well. We are slow, even in the third millinium. Like a toddler, we walk without remembering how we learned it, without understanding that we are walking and what it means...
Acting in Person and in Style $63.55Subscribe to my Open Class @ 3sisters
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How to Read a FilmSubscribe to Open Class @ 200x Aesthetics
"Modern Drama"? We beter call it "current" or "recent"....
Theory pages: The Book of Spectator and Virtual Theatre
* March 2006: Go.dot -- 100 years since Sam Beckett's birth *
* Caligari 2009 - Lul 2010
SummaryPost-Structuralism + links + Lyotard
Questions1968 -- the year of the end of Modernism. Should I also consider it as a transition from "American Century" to "Post-AmeriKa"? This is (my) time table, which needs additional definitions.
NotesThree World Wars (including the Cold War) turned all national histories into one GLOBAL history (Universal?). I have to introduce this new POMO terminology, we can't operate with the old definitions only.
* A Search for a Postmodern Theater: Interviews with Contemporary Playwrights by John L. Digaetani; Greenwood Press, 1991 - Alan Ayckbourn - Eric Bentley - Ed Bullins - Mart Crowley - Jules Feiffer - Horton Foote - Michael Frayn - Larry Gelbart - Amlin Gray - Simon Gray - John Guare - A. R. Gurney - Christopher Hampton - William M. Hoffman - Israel Horovitz - Tina Howe - David Henry Hwang - Albert Innaurato - David Ives - Barrie Keeffe - Romulus Linney - Craig Lucas - Terrence Mcnally - Adrian Mitchell - Richard Nelson - Marsha Norman - Eric Overmyer - David Storey - Timberlake Wertenbaker - August Wilson - Lanford Wilson - Paul Zindel
Modern Criticism and Theory: A Reader by David Lodge, Nigel Wood; Pearson, 2000 - Chapter 1: Ferdinand de Saussure - Notes - Chapter 2: Walter Benjamin - Introductory Note - Nw - Introductory Note-Dl - Chapter 3: Roman Jakobson - Notes - Notes - Chapter 4: Jacques Lacan - Introductory Note - Dl - Notes - Chapter 5: Jacques Derrida - Introductory Note - Dl - Notes - Chapter 6: Mikhail Bakhtin - Introductory Note - Dl - Notes - Introduction Note - Dl - Chapter 7: Tzvetan Todorov - Introductory Note -- Dl - Chapter 8: Roland Barthes - Note - Notes - Introductory Note -- Dl - Chapter 9: Michel Foucault - Chapter 10: Wolfgang Iser - Introductory Note - Dl - Notes - Introductory Note - Dl/Nw - Chapter 11: Julia Kristeva - Notes - Introductory Note - Dl/Nw - Chapter 12: Harold Bloom - Chapter 13: En D. Hirsch Jr. - Introductory Note-Dl/Nw - Notes - Introductory Note-Dl - Chapter 14: M. H. Abrams - Notes - Chapter 15: J. Hillis Miller - Introductory Note - Dl - Notes - Chapter 16: HéLène Cixous - Introductory Note - Dl - Introductory Note -- Dl/Nw - Chapter 17: Edward Said - Notes - Chapter 18: Stanley Fish - Introductory Note - Dl/Nw - Notes - Chapter 19: Elaine Showalter - Introductory Note - Notes [references to 'This Volume' Are to the New Feminist Criticism (1985), Ed. Showalter.] - Introductory Note-Dl - Chapter 20: Paul de Man - Notes - Chapter 21: Fredric Jameson - Introductory Note - Dl - Notes - Chapter 22: Terry Eagleton - Introduction Note - Dl/Nw - Notes - Introductory Note - Dl - Chapter 23: Geoffrey Hartman - Chapter 24: Juliet Mitchell - Introductory Note - Dl - Introductory Note - Dl - Chapter 25: Umberto Eco - Introductory Note - Nw - Chapter 26: Jean Baudrillard - Notes - Chapter 27: Luce Irigaray - Introductory Note - Nw - Chapter 28: Patrocinio P. Schweickart - Introduction Note - Nw - Notes - Chapter 29: Eve Kosofsky Sedgwick - Introductory Note - Nw - Notes - Chapter 30: Gayatri Chakravorty Spivak - Introductory Note - Nw - Notes - Chapter 31: Stephen Greenblatt - Introductory Note - Nw - Notes - Chapter 32: Jerome Mcgann
Theory/Theatre: An Introduction by Mark Fortier; Routledge, 1997
Philosophical Shakespeares by John J.Joughin; Routledge, 2000
Stoppard Pages new 2007
... PM : PoMo 2
Postmodernism is highly debated even among postmodernists themselves. For an initial characterization of its basic premises, consider anthropological critic Melford Spiro's excellent synopsis of the basic tenets of postmodernism:Interpretation is the work of the spectator and is not to take place on the stage. The spectator must not be absolved from this work. That's consumerism . . . capitalist theatre (Muller, quoted by Wright 1989, 130).
“The postmodernist critique of science consists of two interrelated arguments, epistemological and ideological. Both are based on subjectivity. First, because of the subjectivity of the human object, anthropology, according to the epistemological argument cannot be a science; and in any event the subjectivity of the human subject precludes the possibility of science discovering objective truth. Second, since objectivity is an illusion, science according to the ideological argument, subverts oppressed groups, females, ethnics, third-world peoples." (Spiro 1996). *Brenner: What were you trying to do with Hamletmachine? What did you want to say? Why did you write it?I was schooled on modernist theories -- structuralism, existentialism, marxism, but I live in postmodern conditions. By the time I graduated from high-school, the great modernity era was over. There were seventies, eighties, nineties, and you can see how the new centure looks like, but nevertheless we still teach the values and methods of the Modern Age (even after Chekhov and Beckett).
Muller: If I know what I want to say, I say it. I don't have to write it (1990a, 237).
It took us four centuries to complete the task. Sometimes we call it "Humanism" or "Age of Reason" -- what matters is that the Man as the measure of all things and the center of our intellectual universe is not there anymore.
That is where we stop. We don't know ourselves, we don't believe that we crossed the border Nietzsche wrote about. Oh yes, we use the words - super, hyper, cyber, para, pata, post... Being blind is the attribute of PM. Remember, the Revolutionary era is over. It's dark out there.
[Also, see new Research Directory @ Film-North]
Guilty as charged! I had to start discussion on postmodernism in the middle of the semester. It came naturally when we touch the issue of methodology: what analytical method do you use when you write your paper? They already heard about feminism, deconstruction theories, structuralism... Consistency in your methodological approach is no less important than staying with the subject of the paper.
To understand the role of method is to move into the dark waters of contemporary literary theory.
Here are my notes for THR 413 Playscript Analysis class --
POMO: REVIEW (see my writing @ Film-North, especially -- POV, PostAmeriKa, Tech).
QUESTIONS:How do you understand Pastiche in Fredric Jameson Postmodernism and Consumer Society?
New Marxism (mostly aesthetics).
Why does Kushner use "Split scene" device in Angels in America?
Why does Nietzsche position Apollo against Donysus (The Birth of Tragedy)?
"Angels in America": pm construction of sex (Foucault)?
Texture as Structure, Style as Genre
"Salome" (couldn't find anything to represent the most modern mindset (too ugly). Alright, you don't believe me. Here's 3D digital art with the title "Evil Chick" (I have to look up the artist's name and his website; image?). You compare the two images, which are not only different in technology, but in values. Way beyond any modernity of Stindberg on sex and gender! (Notes on "70 Scenes of Halloween" by Jeffrey Jones. Sex is our own construction. Gender is only a framework, the rest is a self-tailored creation.)
["gender" page in THEMES subdirectory]
POMOI wrote a lot of pages on Pomo, but they are not for students in Dramlit class. I have to find words to explain this intellectual movement in simple terms...
[most of PM quotations -- POV, SELF, TECH nonfiction]
After ModernityThe radical consequences of PM (Postmodernism) are not fully understood. For example, the principle of "theory" is now in question. PM preserves only formal continuity, not essential. (Although the linkage -- montage -- is an active/visual thought).
PM is a strange negation of modernity. In its own name pomo refering to the five centiries of modernity. Postmodern can't fully rebel and departure from the past. Like a parasite it lives on references. Not suprisingly we have all the familiar forms of drama, but they are FORMS. Pomo IMMITATES, it's "cut-n-paste" mind, when the eclectics indeed became a method.
If you understood the problems of high modernity, you can see the birth of pomo. PM disintegration of society is possible because of the extreme level of connection in mass society. Therefore, we can leave "the social" in form, when in fact we do not society. The same with values.
I had to give my students the dates. I wrote on the blackboard "1968" (I even added "Summer"). That was the time when the postwar "babyboomers," the first generation of the Atomic Age, spoke their minds. They showed a different sensitivity. They demonstrated the break... and the fact that "generations" are also history. From now on there will no "era" and "epochs": history collapsed.
Of course, there always will be theatres and pm people will write their plays, but there will be no new artistic discoveries...
From THEATRE @ Suite101[ pomo.vtheatre.net ]
Read the article -- this discussion is about An Open Letter to Leonard
Date: January 27, 1999 2:02 AM
Subject: Leonard Bernstein
It's not just Leonard Bernstein. I write to the dead, too, and it's always open letters without any "great expectations of receiving a reply."
Steven, when my students ask me when this "postmodern" shift took place, I say - 1968, sometimes I even add -- in the Summer of 1968. It was over thirty years ago and my entire adult life is in it -- the After.
Did they lie to themselves? Maybe, we all do. I guess, they thought that the door into future is wide open and art somehow will exist on a separate track from the rest of the real world, which was commercial. It was a matter of time, before they themselves became commodities. In my ex-Soviet view it's all the grand result of democratization (we prefer to call mass or pop culture). In Moscow we believed that Art (and we) will never see the light of day. It's hard to accept the fact that the same applies in America. I do not blaim Bernstein's generation, they didn't know it, they were too much into present. They were happy at the time when artist/prophet should be in horror. Their happiness was paid by the previous generation of artists, who saw the future.
No, I do not tell my students about my underground Russian wisdom; I don't have a heart to say that if they want Art, they should be ready to live when no one will ever know them.
Go to super-market to see pomo art; it's everywhere. Turn on your TV. You see?
PostModern as Nonsense
Related pages: Beckett Dada Beyond Theatre Stage-on-Stage & eTheatre
Use POMO glossary!
PSSee POMO dictionary (top right). Print and keep it with your THR413 class notes.
This page belongs to the vertical 413 (see 413 subdirectory)[ fistory.vtheatre.net ]
NBMost of my own pomo writing is in the unfinished nonfiction. NTL, I have to stick with POMO. Yes, I understand the nostalgia for the absolute and fears of flexible "truth" -- but don't we all know by now that "relativic" approach was accepted even by physics? Marx, Nietzsche (you pick your favorite) wrote on this topic a lot and long ago (see Realism Page).
Next: POV[ Rosencrantz and Guildenstern about Tom Stoppard ]
The Raymond Williams Reader (Blackwell Readers) This volume provides a unique insight into the formative influence of one of the century's most distinguished public intellectuals, Raymond Williams (1921-1988). Williams' concern with the dynamics of all forms of writing transformed the ways in which we read the world and its texts and helped to create and form the conceptual space of contemporary literary and cultural studies. This carefully-structured book presents a survey of the whole body of Williams' work. It provides new readers with the opportunity to explore his ideas in depth while giving existing readers a fresh perspective by viewing his works historically. Detailed introductions place Williams' work in the broader national and international context of literary and cultural theory. The selections which follow balance the familiar with the unfamiliar, and include extracts from key works such as Culture and Society, The Long Revolution, Modern Tragedy, Orwell, Marxism and Literature and The Politics of Modernism, as well as equally powerful but less known texts like 'Film and the Dramatic Tradition' and seminal essays such as 'Base and Superstructure in Marxist Cultural Theory' and 'The Bloomsbury Fraction'. The Raymond Williams Reader is essential reading for all those interested in contemporary literary theory and cultural studies.
Spring 2007 Film Analysis
@1998-2001 script * Fall 2002 THR215 Dramatic Literature: subscribe to DramLit Forum * The Bataille Reader (Blackwell Readers) Since the publication in France of his Oeuvres Complètes in the mid-1970s, the breadth of Bataille's writing and influence has become increasingly apparent across the disciplines in, for example, the fields of literature, art, art history, philosophy, critical theory, sociology, economics, and anthropology. He is now held by many to be one of the most profound thinkers of the century, the enormous ramifications of whose work have yet to be fully grasped.
2004 & After* Bedford Intro to Drama *
New key terms and definitions
Metaphor and Theme Analysis
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In response to this growing interest, The Bataille Reader includes key texts from the broad spectrum of Bataille's work, from the early essays interrogating surrealism and cultural politics in the 1930s, down to texts from The Accursed Share (1949, translated 1988), a major engagement in post-Marxist economic theory generally regarded as being his most important work. Generous coverage is given to Bataille's speculations, also of the 1930s, on the limits of being, experience and identity, as well as to his post-war engagements with existentialism, Marxism, and Hegelianism. The major texts are interspersed with some of the brilliantly punctual essays Bataille produced throughout his career as a prolific essayist, reviewer and originator of highly-influential journals, such as Documents, Acephale and Critique. Clearly introduced and comprehensively annotated by the editors, this book provides the best single-volume coverage of Bataille's work available.
The Kierkegaard Reader (Blackwell Readers) This anthology is the first attempt to present a rounded picture of 'Kierkegaard as a philosopher' in English. After an introduction explaining how Kierkegaard viewed the task of 'becoming a philosopher', there are generous extracts from the Concept of Irony and the great pseudonymous works: Either/Or, Fear and Trembling, Repetition, Philosophical Fragments, The Concept of Anxiety, Prefaces, Johannes Climacus and Concluding Unscientific Postscript. Kierkegaard's own attempts to summarize the significance of his writings are also included, so that readers have the opportunity to make up their own minds about the adequacy of his retrospective accounting.
Virilio Live : Selected Interviews (Theory, Culture and Society Series) Paul Virilio is arguably, the most provocative French cultural theorist to have emerged in recent years. Renowned for his concept of `dromology', or the logic of speed, Virilio's writings are eagerly awaited by a large and growing audience.
But, as much as Virilio's ideas are becoming increasingly influential, they remain misunderstood and in contention by many.
This book offers the reader a guide through Virilio's contribution. Using the interview form, Virilio speaks incisively and at length about a vast assortment of cultural and theoretical topics, including architecture and `speed-space', `chronopolitics', art and technoculture, modernism, postmodernism and `hypermodernism', the time of the trajectory and the `information bomb'. His thoughts on Foucault, Baudrillard, Deleuze and Guattari, the performance artist Stelarc, the Persian War and the Kosovo War, are also gathered together.
Edited by one of the leading Virilio authority's, the book contains a Preface written by Virilio and an accessible introduction. Four of the interviews appear here in English for the first time. The volume comes with suggestions for further reading and a select bibliography of Virilio's key works. The collection is a vital introductory text and an important reference work for students of cultural theory, sociology and political philosophy.
Lijit Search 2005-2006 Theatre UAF Season: Four Farces + One Funeral & Godot'06
Film-North copyright. eCitations
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