Titlebook: On the Uses of the Fantastic in Modern Theatre; Cocteau, Oedipus, an Irene Eynat-Confino Book 2008 Palgrave Macmillan, a division of Nature

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Visibility, Invisibility, and the Fantastic,ve mode employed, that is, the fantastic. The fantastic in its various manifestations takes the center stage, to the delight of the audience, and overshadows the deeper import of Cocteau’s strategy and techniques in the play. John Clum affirms that, with regard to Tennessee Williams and William Inge

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Ethics, Alterity, and Designed Emotion,the monster is highly visible on the screen, both in film and television. In addition to the monsters of yore, new ones engendered by modern technology have come into being and they too have animated the screen rather than the stage. The robot, born in 1921 into the theatre in Karel Capek’s ., was q

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Palgrave Studies in Theatre and Performance Historyhttp://image.papertrans.cn/o/image/701300.jpg

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https://doi.org/10.1057/9780230616967design; drama; emotion; ethics; theatre

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The Sphinx,onsters disturb, the more so when they change their shape not once but often, only to finally vanish in a mist. Such a monster is the Sphinx in ..

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On the Uses of the Fantastic in Modern Theatre978-0-230-61696-7Series ISSN 2947-5767 Series E-ISSN 2947-5775

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2947-5767 Overview: The book reveals how the fantastic is used in modern theatre as a manipulative device to encode the unspeakable and control audience response, challenging conventional readings of all authors who use the fantastic.978-1-349-37496-0978-0-230-61696-7Series ISSN 2947-5767 Series E-ISSN 2947-5775

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