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“An intellectually thrilling account of postwar theater’s aesthetic enmeshment in—and contestation of—mass media. Harries’s writing is unparalleled in its combination of rigorous historicism, searching theoretical inquiry, and brilliant close reading. In a series of illuminating essays, Harries shows how the very particularities that have consigned theater artists to distinct canons actually form a ‘dialectical sequence’ of profound investigations into modern spectatorship. Anyone who cares about what stage plays can be in a society dominated by other media ought to read Theater after Film.” * Julia Jarcho, Brown University * “Theater after Film is that rare thing: a book that achieves a decisive theoretical intervention by means of the most scrupulous critical attention to its chosen historical and aesthetic materials. Harries’s writing is elegant and precise, wrought with extraordinary care from extensive study and deep thought. His work offers readers a richly historicized understanding of theatrical responses to the media culture inaugurated by film.” * Nicholas Ridout, Queen Mary University of London * “There is nothing in studies of postwar theater to match the theoretical elegance of this book and the lucidity of its critical address. Harries’s readings, like his reflections on his methodology, are as scrupulous as they are generous. Each essay offers both intricate analyses of particular works and revelatory conclusions about theater’s potential as a site of aesthetic and ideological contestation. This book is transformative. You read it, and the sky lights up.” * Shonni Enelow, Fordham University *

Author Information

Martin Harries is professor of comparative literature at the University of California, Irvine. He is the author of Forgetting Lot’s Wife: On Destructive Spectatorship and Scare Quotes from Shakespeare: Marx, Keynes, and the Language of Reenchantment.

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