Helene P. Foley
- Published in print:
- 2012
- Published Online:
- January 2013
- ISBN:
- 9780520272446
- eISBN:
- 9780520953659
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520272446.003.0004
- Subject:
- Classical Studies, Plays and Playwrights: Classical, Early, and Medieval
Chapter 3 looks at productions and new versions of Greek tragedy that began to defy the American reluctance to politicize the plays in response to controversial contemporary social and political ...
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Chapter 3 looks at productions and new versions of Greek tragedy that began to defy the American reluctance to politicize the plays in response to controversial contemporary social and political issues and to question American optimism. Most productions in this category began in the late 1960s and 1970s and have been increasingly common in the last thirty years. Aside from Sophocles's Antigone, which did generate an important production in the late nineteenth century, this chapter focuses on productions and new versions of less well-known tragedies, such as Aeschylus's Persians and Prometheus Bound, Sophocles's Ajax, and Euripides's Children of Heracles, by artists including Julian Beck and Judith Malina of the Living Theatre and Peter Sellars and Robert Auletta.Less
Chapter 3 looks at productions and new versions of Greek tragedy that began to defy the American reluctance to politicize the plays in response to controversial contemporary social and political issues and to question American optimism. Most productions in this category began in the late 1960s and 1970s and have been increasingly common in the last thirty years. Aside from Sophocles's Antigone, which did generate an important production in the late nineteenth century, this chapter focuses on productions and new versions of less well-known tragedies, such as Aeschylus's Persians and Prometheus Bound, Sophocles's Ajax, and Euripides's Children of Heracles, by artists including Julian Beck and Judith Malina of the Living Theatre and Peter Sellars and Robert Auletta.
Martin Halliwell
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9780748698936
- eISBN:
- 9781474445160
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748698936.003.0008
- Subject:
- Political Science, American Politics
Cultural visibility was one of its most effective mechanisms of protest in the late 1960s via posters, slogans, songs and images that gave collective purpose to ideas and campaigns. This chapter ...
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Cultural visibility was one of its most effective mechanisms of protest in the late 1960s via posters, slogans, songs and images that gave collective purpose to ideas and campaigns. This chapter looks at performance of protest, looking specifically at the way that protest was “staged” as musical and theatrical spectacle in 1968. It focuses on three case studies: the musical spectacle of the Los Angeles rock group The Doors and the folk singer Phil Ochs who performed at the Chicago Democratic National Convention in August 1968; the theatrical experimentation of The Living Theatre’s radical play Paradise Now which was honed in Paris and performed first in New Haven, Connecticut in September 1968; and the British filmmaker Peter Whitehead’s ambivalent take on New York City in his 1969 film The Fall, the third part of which focuses on the student sit-in at Columbia University in April 1968.Less
Cultural visibility was one of its most effective mechanisms of protest in the late 1960s via posters, slogans, songs and images that gave collective purpose to ideas and campaigns. This chapter looks at performance of protest, looking specifically at the way that protest was “staged” as musical and theatrical spectacle in 1968. It focuses on three case studies: the musical spectacle of the Los Angeles rock group The Doors and the folk singer Phil Ochs who performed at the Chicago Democratic National Convention in August 1968; the theatrical experimentation of The Living Theatre’s radical play Paradise Now which was honed in Paris and performed first in New Haven, Connecticut in September 1968; and the British filmmaker Peter Whitehead’s ambivalent take on New York City in his 1969 film The Fall, the third part of which focuses on the student sit-in at Columbia University in April 1968.
Tyrus Miller
- Published in print:
- 2014
- Published Online:
- September 2015
- ISBN:
- 9780748640188
- eISBN:
- 9781474400862
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748640188.003.0004
- Subject:
- Literature, European Literature
This chapter explores the shifting role of art in the corpus of theoretical works of Herbert Marcuse. Although Marcuse’s own artistic tastes were relatively moderate, his ideas of critical refusal ...
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This chapter explores the shifting role of art in the corpus of theoretical works of Herbert Marcuse. Although Marcuse’s own artistic tastes were relatively moderate, his ideas of critical refusal and of sexual-sensual liberation were taken up by some of the most radical liberatory tendencies in the arts in the 1960s, including Carolee Schneemann and The Living Theatre. The chapter emphasizes the tensions in Marcuse’s work between defending the autonomy of art and advocating a contemporary realization of Schiller’s romantic “aesthetic state,” to be enabled by new technologies and the abolition of scarcity in the post-war society of abundance.Less
This chapter explores the shifting role of art in the corpus of theoretical works of Herbert Marcuse. Although Marcuse’s own artistic tastes were relatively moderate, his ideas of critical refusal and of sexual-sensual liberation were taken up by some of the most radical liberatory tendencies in the arts in the 1960s, including Carolee Schneemann and The Living Theatre. The chapter emphasizes the tensions in Marcuse’s work between defending the autonomy of art and advocating a contemporary realization of Schiller’s romantic “aesthetic state,” to be enabled by new technologies and the abolition of scarcity in the post-war society of abundance.
Herbert Blau
- Published in print:
- 2005
- Published Online:
- March 2012
- ISBN:
- 9780748635030
- eISBN:
- 9780748652587
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748635030.003.0001
- Subject:
- Philosophy, General
This chapter address the value of Deleuzian ideas for performance. It attempts to establish the connection of Gilles Deleuze's works with various practitioners including Bertolt Brecht, the Living ...
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This chapter address the value of Deleuzian ideas for performance. It attempts to establish the connection of Gilles Deleuze's works with various practitioners including Bertolt Brecht, the Living Theatre, and the KRAKEN Group. It analyses Deleuze and Félix Guattari's Anti-Oedipus and suggests that Deleuze considers performance as the autoerotic on automatic in runaway machines, given over to pure expenditure in the libidinal economy.Less
This chapter address the value of Deleuzian ideas for performance. It attempts to establish the connection of Gilles Deleuze's works with various practitioners including Bertolt Brecht, the Living Theatre, and the KRAKEN Group. It analyses Deleuze and Félix Guattari's Anti-Oedipus and suggests that Deleuze considers performance as the autoerotic on automatic in runaway machines, given over to pure expenditure in the libidinal economy.
George Cotkin
- Published in print:
- 2016
- Published Online:
- December 2015
- ISBN:
- 9780190218478
- eISBN:
- 9780190218508
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780190218478.003.0002
- Subject:
- History, American History: 20th Century, Cultural History
Judith Malina, an actress and theater director, yearns to have a creative outlet, to smash through the dullness of the culture of the moment. Along with her partner Julian Beck, she will, after much ...
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Judith Malina, an actress and theater director, yearns to have a creative outlet, to smash through the dullness of the culture of the moment. Along with her partner Julian Beck, she will, after much struggle, found the Living Theatre, a space for experimental plays to be performed. But on New Year’s day 1952, she is searching for answers after an embarrassment onstage. In John Cage’s piece Music of Changes, she will find inspiration. Through the Living Theatre, well into the 1960s, Malina and Beck will use the stage for offbeat performances and to trumpet liberation.Less
Judith Malina, an actress and theater director, yearns to have a creative outlet, to smash through the dullness of the culture of the moment. Along with her partner Julian Beck, she will, after much struggle, found the Living Theatre, a space for experimental plays to be performed. But on New Year’s day 1952, she is searching for answers after an embarrassment onstage. In John Cage’s piece Music of Changes, she will find inspiration. Through the Living Theatre, well into the 1960s, Malina and Beck will use the stage for offbeat performances and to trumpet liberation.
