000			02892cam a2200325Ia 4500
008			151105s2013 gw 000 0 eng d
020			_a9783110309072
020			_a3110309076
035			_a(OCoLC)852103803
040			_aLWU _beng _cLWU _dLWU _dOCLCO _dOHX _dYDXCP _dBTCTA _dHLS _dBAUN _erda
049			_aBAUN_MERKEZ
050	0	0	_aPR6053.R495 _bZ65 2013
072		7	_aPR _2lcco
100	1		_aEscoda Agustí, Clara.
245	1	0	_aMartin Crimp's theatre : _bcollapse as resistance to late capitalist society / _cClara Escoda Agustí
264		1	_aBerlin : _bDe Gruyter, _c2013.
264		4	_c©2013.
300			_axi, 336 pages ; _c24 cm.
336			_2rdacontent _atext _btxt
337			_2rdamedia _aunmediated _bn
338			_2rdacarrier _avolume _bnc
490	1		_aCDE studies, _x2194-9069 ; _vv. 24.
504			_aIncludes bibliographical references (pages 329-336)
505	0		_aPreliminaries I: Introduction and rationale -- Preliminaries II: Martin Crimp's theatre, a pedagogy of resistance -- Martin Crimp's context -- The semiotic potential of collapse on stage -- Redefining ethics: a collapsing body -- Beginnings of a dramaturgy: violence, memory and retribution in The Treatment (1993) -- Introduction: Collapse, 'In-Yer-Face' theatre and the 'Society of Spectacle' -- The 'Spectacle' filled our pockets: duplicity, sexism and the market -- The point of rupture: collapse and barbarism -- Conclusion: Towards subjectivity and ethics -- Postdramatic plays: "Attempts on Her Life" (1997) and "Face to the Wall" (2002) -- Interpretation, self-regulation and postdramatism --- Short circuits of desire: Language and power in "Attempts on Her Life" -- 'The Stage, a Skull': Male collapse as resistance in "Face to the Wall " -- Dramatic plays: female breakdown as micropolitical resistance -- Stopping time: Memory and resistance in "The Country" (2000) -- Oppression, resistance and terrorism in "Cruel and Tender" (2004) -- Testimony and world inequality in Crimp's adaptation of Anton Chekov's "The Seagull" (2006) -- General conclusions: Martin Crimp's theatre: a dramaturgy of resistance.
520			_aMain description: This book is a timely intervention in theatre studies which reads Martin Crimp's plays in the context of contemporary, late capitalist societies of control or of 'spectacle', and explores how female collapse in particular works as a form of denunciation of the violence of globalized, free-market economy. It contends that Crimp can best be understood as a post-Holocaust playwright, and it will be of interest to both specialists in Crimp and theatre studies, and to anyone interested in gaining a deeper understanding of Crimp's dramaturgy.
600	1	0	_aCrimp, Martin, _d1956- _xCriticism and interpretation. _9113360
650		0	_aEnglish drama _y20th century _xHistory and criticism.
830		0	_9110019 _aCDE studies ; _vBd. 24.
942			_2lcc _cKT
999			_c34350 _d34350