Print and the Poetics of Modern Drama当代戏剧诗学及其剧本创作

书籍目录

List of illustrationsAcknowledgmentsIntroduction: booking the play1  Prefixing the author; or, As it was Plaide: Shakespeare,editing, and the design of modern drama2　Accessory acts　i.  Margins: Shaw, print, and play　ii.  So much depends: Stein's theatre of the page　iii.  (Pause.): Pinter's poetics　iv.  What's in a name?: The Laramie Project, the author, and collaboration3　Something like poetry  i.  Prizing the play: performance, print, and genre　ii.  Theatre of the voice: Anna Deavere Smith's lyric page　iii.  Lines of subjection: Language writing, poetry, and performance　iv.  Spaces of gesture: the poetics of the page in Smith and KaneEpilogue: whom the reader will rememberNotesWorks citedIndex

作者简介

What does it matter what we read? The question of the materiality of the book has surprising consequences when applied to dramatic writing, where the bookish qualities of dramatic literature, qualities emphasised by the dominion of print culture, have always seemed antagonistic to plays' other life on the stage. In Print and the Poetics of Modern Drama, W. B. Worthen asks how the print form of drama bears on how we understand its dual identity - as play texts and in performance. Beginning with the most salient modern critique of printed drama - arising in the field of Shakespeare editing - Worthen then looks at the ways playwrights and performance artists from George Bernard Shaw and Gertrude Stein to Harold Pinter, Samuel Beckett, Anna Deavere Smith and Sarah Kane stage the poetics of modern drama in the poetics of the page.

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