cam a22 4 4500 530038587 CHVBK 20191127031828.0 161230t20172017enk b||| 001 0 eng| 2016039910 978-1-350-00096-4 (hardcover) 1-350-00096-5 (hardcover) 978-1-350-00098-8 (electronic book) 978-1-350-00097-1 (electronic publication) 1-350-00098-1 1-350-00097-3 (OCoLC)955313208 (IDSBB)006841025 (OCoLC)955313208 (OCoLC)952789661 (OCoLC)974968304 (OCoLC)975031278 (OCoLC)975106058 (OCoLC)978451542 (OCoLC)988702419 DLC ger DLC ERASA YDXCP BTCTA BDX YDX OCLCF INU OCLCO QCL CUV LML IUL YDX OCLCO UKWOH UBY OCLCO ERD SzZuIDS BS/BE A192 rda PN2582.A87 S38 2017 809.2/051 23 800 15 PER011020 DRA004000 AP 66200 rvk EC 4700 rvk HN 1261 rvk Morgenroth Daniel 1984- (DE-588)1120934893 Verfasser aut Authenticity in contemporary theatre and performance make it real Daniel Schulze London, UK Bloomsbury Methuen Drama 2017 New York, NY ©2017 xii, 284 Seiten Text txt rdacontent/ger ohne Hilfsmittel zu benutzen n rdamedia/ger Band nc rdacarrier/ger Methuen drama engage Includes bibliographical references (page [261]-279) and indexes "Authenticity is one of the major values of our time. It is visible everywhere, from clothing to food to self-help books. While it is such a prevalent phenomenon, it is also very evasive. This study analyses the 'culture of authenticity' as it relates to theatre and establishes a theoretical framework for analysis. Daniel Schulze argues that authenticity is sought out and marked by the individual and springs from a culture that is perceived as inherently fake and lacking depth. The study examines three types of performances that exemplify this structure of feeling: intimate theatre seen in Forced Entertainment productions such as Quizoola! (1996, 2015), as well as one-on-one performances, such as Oentroerend Goed's Internal (2009); immersive theatres as illustrated by Punchdrunk's shows The Masque of the Red Death (2007) and The Drowned Man (2013) which provide a visceral, sensate understanding for audiences; finally, the study scrutinises the popular category of documentary theatre through various examples such as Robin Soan's Talking to Terrorists (2005), David Hare's Stuff Happens (2004), Edmund Burke's Black Watch (2007) and Dennis Kelly's pseudo-documentary play Taking Care of Baby (2007). It is specifically the value of the document that lends such performances their truth-value and consequently their authenticity. The study analyses how the success of these disparate categories of performance can be explained through a common concern with notions of truth and authenticity. It argues that this hunger for authentic, unmediated experience is characteristic of a structure of feeling that has superseded postmodernism and that actively seeks to resignify artistic and cultural practices of the everyday"-- Geschichte 1996-2015 gnd 2000-2099 fast Authentizität (DE-588)4193985-2 gnd Drama (DE-588)4012899-4 gnd Englisch (DE-588)4014777-0 gnd Performance (Künste) (DE-588)4173750-7 gnd Theater (DE-588)4059702-7 gnd Authenticity (Philosophy) in the theate) Europe Authenticity (Philosophy) in literatur) European drama 21st century History and criticism Performing Arts eflch Performing Arts ukslc PERFORMING ARTS / Theater / History & Criticism bisacsh DRAMA / Continental European bisacsh Authenticity (Philosophy) in literatur) fast Authenticity (Philosophy) in the theate) fast European drama fast Europe fast Criticism, interpretation, etc fast https://www.tcd.ie/library/using-library/eLD/#PDA IDSBB 100 1- Morgenroth Daniel 1984- (DE-588)1120934893 Verfasser aut IDSBB 490 0- Methuen drama engage IDSBB 856 4- https://www.tcd.ie/library/using-library/eLD/#PDA BK020000 XK020000 XK020000 IDSBB A192 A192 192V1 ENG Le III 455 NELA1921902