Titlebook: Against Theatre; Creative Destruction Alan Ackerman (Associate Professor),Martin Puchner Book 2006 Palgrave Macmillan, a division of Macmil

Fillmore

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Cloudburst

Avant-garde scenography and the frames of the theatrethe first American comedy), the good-hearted but simple character Jonathan is tricked into going to the theatre – an activity that he perceives as immoral, but of which he has had no experience. Questioned afterward, he comments on the peculiar architecture to be found in New York City that permits

裂口

Firefly

FLASK

老巫婆

probate

Mallarmé, Maeterlinck and the symbolist via negativa of theatret’s engagement with theatre. The verbal play from . to . is at the hub of the matter: a rejection of theatre that leads to – that is perhaps even the . – a triumphant reclaiming of the theatrical. Mallarmé, theatre critic for the ., is ostensibly giving his reasons for not going to the theatre – he

精美食品

limber

The curse of legitimacyities, a ‘paradise for playwrights’, in Brenda Murphy’s words.1 On the average, more than 200 new productions opened each year on the Great White Way.2 By 1927, there were 76 theatres in New York City used for plays and musical comedies, twice as many as had been available only 12 years before.3 Alt

declamation