資料來源: Google Book
Religion in Contemporary German Drama :Botho Strauss, George Tabori, Werner Fritsch, and Lukas Bärfuss
- 作者: Crowe, Sinéad,
- 出版:
- 稽核項: 168 pages ;24 cm.
- 叢書名: Studies in German Literature, Linguistics, and Culture
- 標題: Religion in literature. , History and criticism. , Theater , Theater Religious aspects. , German drama 21st century -- History and criticism. , Religious aspects. , German drama
- ISBN: 1571135499 , 9781571135490
- 附註: 103年科技部補助人文及社會科學研究圖書設備計畫規畫主題:藝術學:全球化與劇場跨界 Includes bibliographical references (pages 147-160) and index. Introduction: Definitions and Themes -- The Relationship between Theater and Religion -- Religion in Modern European Theater and Drama -- "No One Wants to Get to God Anymore"? Botho Strauss's Grosse und Klein and Die eine und die andere -- Theological Farce: George Tabori's Mein Kampf -- "The Last Refuge for Metaphysics": Werner Fritsch's Theater Theory -- "The Feeling of Faith": Fritsch's Wondreber Totentanz and Aller Seelen -- Belief and Unbelief in the Twenty-first Century: Lukas Bärfuss's Der Bus (Das Zeug einer Heiligen).
- 系統號: 005259664
- 資料類型: 圖書
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- 引用網址: 複製連結
Investigates German religious drama since the 1970s, asking the question whether it develops religious themes or only exploits religious motifs, and exploring how it reflects the changing place of religion and spirituality in theworld. Critics often claim that the twenty-first century has seen a sudden "return" of religion to the German stage. But although drama scholarship has largely focused on politics, postmodernity, gender, ethnicity, and "postdramatic" performance, religious themes, forms, and motifs have been a topic and a source of inspiration for German dramatists for several decades, as this study shows. Focusing on works by four major dramatists - Botho Strauß, George Tabori, Werner Fritsch, and Lukas Bärfuss - this book examines how, why, and to what effect religion is invoked in German drama since the late 1970s. It asks whether contemporary German drama succeeds in developing religious insights or is at most quasi-religious, exploiting religious signs for aesthetic, theatrical, or dramaturgical ends. It considers the performative and historical intersections between drama and religion, contextualizing the playwrights' treatments of religion by exploring how they lean on or repudiate the traditions of modern European drama, especially that of Strindberg, the Expressionists, Artaud, Grotowski, and Beckett. It also draws on the sociology, anthropology, and psychology of religion, exploring how these works reflect the changing place of religion and spirituality in the world, from secularization to the "alternative" modes of religiosity that have proliferated in Western society since the 1960s. Sinéad Crowe is a Teaching Assistant at the University of Limerick, Ireland.
來源: Google Book
來源: Google Book
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