Alienation and Theatricality: Diderot After Brecht

Author:   Phoebe von Held
Publisher:   Taylor & Francis Ltd
ISBN:  

9781906540128


Pages:   254
Publication Date:   12 January 2011
Format:   Hardback
Availability:   In Print   Availability explained
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Alienation and Theatricality: Diderot After Brecht


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Full Product Details

Author:   Phoebe von Held
Publisher:   Taylor & Francis Ltd
Imprint:   Legenda
Dimensions:   Width: 17.40cm , Height: 1.80cm , Length: 24.60cm
Weight:   0.657kg
ISBN:  

9781906540128


ISBN 10:   1906540128
Pages:   254
Publication Date:   12 January 2011
Audience:   College/higher education ,  Professional and scholarly ,  Undergraduate ,  Postgraduate, Research & Scholarly
Format:   Hardback
Publisher's Status:   Active
Availability:   In Print   Availability explained
This item will be ordered in for you from one of our suppliers. Upon receipt, we will promptly dispatch it out to you. For in store availability, please contact us.

Table of Contents

Alienation and Theatricality: Diderot After Brecht

Reviews

This is a rich and rewarding study that opens up important new perspectives not only on its two chosen thinkers, but also on the questions of acting both onstage and in society more generally. -- Joseph Harris French Studies, 66.4 (October 2012), 557 [Held's] general principle is surprisingly simple and compelling: While the 'self-alienating artifice' of Diderot's calculating actor succeeds for the most part at immedsing the audience to identification and illusion, there are moments at which it suddenly comes to the fore... Jolted by this 'sudden emergence of alienation', the spectator is now 'faced with her own involvement in the operation of delusion'. -- Florian Nikolas Becker Brecht Yearbook, 37 (2012), 253-58


This is a rich and rewarding study that opens up important new perspectives not only on its two chosen thinkers, but also on the questions of acting both onstage and in society more generally. -- Joseph Harris French Studies 66.4 (October 2012), 557 [Held's] general principle is surprisingly simple and compelling: While the 'self-alienating artifice' of Diderot's calculating actor succeeds for the most part at immedsing the audience to identification and illusion, there are moments at which it suddenly comes to the fore... Jolted by this 'sudden emergence of alienation', the spectator is now 'faced with her own involvement in the operation of delusion'. -- Florian Nikolas Becker Brecht Yearbook 37 (2012), 253-58


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Phoebe von Held

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