Terms used to describe artistic practices have different meanings from their
common usage, but 'realism' as an aesthetic idea cannot be too
far removed from the way we would talk about something 'real'.
This book explores the artistry and aesthetics of realist literature, along with
the assumptions of realist literature. It examines the different ways in which
theorists, critics and philosophers conceptualise 'realism'.
The book argues that a 'realist' sensibility is the ground on
which other modes of literature often exist. It considers verisimilitude that is
associated with the complexity of realism, describing the use of realism in two
ways: capital 'R' and small 'r'. A set of
realist novels is used to explore preliminary definition of realism. The STOP
and THINK section lists some points to consider when thinking about realist
works. The book looks at the characteristics of the Realist novel. It deals with
the objections raised in discussions of Realism, from the Realist period and
twentieth- and twenty-first century criticisms. The book provides information on
the novel genre, language that characterises Realism, and selection of novel
material. It looks at crucial elements such as stage design, and a technical
feature often overlooked, the aside, something which seems non-realistic, and
which might offer another view on Realism. The book talks about some writers who
straddled both periods from the 1880s and 1890s onwards, until the 1920s/1930s,
gradually moved away from Realism to modernism. Literary realism, and
Aristotle's and Plato's works in relation to realism are also
For the theatre must not be ‘realistic’
drama is no mere setting up of the camera to nature …
(George Bernard Shaw)
‘Cup-and-saucer’ Realism versus melodrama
In turning to drama it is important to recognise that concentrating on the textual aspect alone would give us only a limited insight into its relationship with literary Realism. In this chapter, therefore, as well as the texts themselves, I will look at other crucial elements such as stagedesign, and a technical feature often overlooked – the aside – something which
This book presents new research on the histories and legacies of the German
Expressionist group, Der Blaue Reiter, the founding force behind modernist
abstraction. For the first time Der Blaue Reiter is subjected to a variety of
novel inter-disciplinary perspectives, ranging from a philosophical enquiry into
its language and visual perception, to analyses of its gender dynamics, its
reception at different historical junctures throughout the twentieth century,
and its legacies for post-colonial aesthetic practices. The volume offers a new
perspective on familiar aspects of Expressionism and abstraction, taking
seriously the inheritance of modernism for the twenty-first century in ways that
will help to recalibrate the field of Expressionist studies for future
scholarship. Der Blaue Reiter still matters, the contributors argue, because the
legacies of abstraction are still being debated by artists, writers,
philosophers and cultural theorists today.
This book analyses the use of the past and the production of heritage through architectural design in the developmental context of Iran. It is the first of its kind to utilize a multidisciplinary approach in probing the complex relationship between architecture, development, and heritage. It uses established theoretical concepts including notions of globalism, nostalgia, tradition, and authenticity to show that development is a major cause of historical transformations in places such as Iran and its effects must be seen in relation to global political and historical exchanges as well as local specificities. Iran is a pertinent example as it has endured radical cultural and political shifts in the past five decades. Scholars of heritage and architecture will find the cross-disciplinary aspects of the book useful. The premise of the book is that transposed into other contexts, development, as a globalizing project originating in the West, instigates renewed forms of historical consciousness and imaginations of the past. This is particularly evident in architecture where, through design processes, the past produces forms of architectural heritage. But such historic consciousness cannot be reduced to political ideology, while politics is always in the background. The book shows this through chapters focusing on theoretical context, international exchanges made in architectural congresses in the 1970s, housing as the vehicle for everyday heritage, and symbolic public architecture intended to reflect monumental time. The book is written in accessible language to benefit academic researchers and graduate students in the fields of heritage, architecture, and Iranian and Middle Eastern studies.
This book is about science in theatre and performance. It explores how theatre and performance engage with emerging scientific themes from artificial intelligence to genetics and climate change. The book covers a wide range of performance forms from the spectacle of the Paralympics Opening Ceremony to Broadway musicals, from experimental contemporary performance and opera to educational theatre, Somali poetic drama and grime videos. It features work by pioneering companies including Gob Squad, Headlong Theatre and Theatre of Debate as well as offering fresh analysis of global blockbusters such as Wicked and Urinetown. The book offers detailed description and analysis of theatre and performance practices as well as broader commentary on the politics of theatre as public engagement with science. It documents important examples of collaborative practice with extended discussion of the Theatre of Debate process developed by Y Touring theatre company, exploration of bilingual theatre-making in East London and an account of how grime MCs and dermatologists ended up making a film together in Birmingham. The interdisciplinary approach draws on contemporary research in theatre and performance studies in combination with key ideas from science studies. It shows how theatre can offer important perspectives on what the philosopher of science Isabelle Stengers has called ‘cosmopolitics’. The book argues that theatre can flatten knowledge hierarchies and hold together different ways of knowing.
their transformation of the nocturnal landscape through the dramatic chaos
of paintings like The City in the Night (c. 1925) or the rendition of night-time
entertainment spaces like Madane Theatre.
Ratan Parimoo’s alternative genealogy for Gaganendranath Tagore’s interest in cubism relates his experience to lighting and stagedesign in theatre,
drawing from Gordon Craig’s set designs which tended to replace illusionist
interiors with lofty symbolic form illuminated with a mass of light and shade.
A secondary influence, from the world of
particularly from a 1950s picture
of a mental asylum. Maragnani identified Parr as:
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Howard Barker’s Art of Theatre
A chronicler of our age. In the face of the constantly growing flood of images
released by the media […] he enables us to see things that have seemed familiar to
us in completely new way. The motifs he chooses are strange, the colours are garish
and the perspectives are unusual. His weapons to counter the propaganda of
published images are: criticism, seduction and humour.15
Blanche-Neige’s stagedesign was
.g. Marinetti and Depero, retrenched into mannerist or provincial folds. His ‘sustained European vocation’ was built on a broad technical and
theoretical range ‘pursued in international arenas’.1 Crispolti hailed Prampolini as
‘the most robust theoretician’ of mechanical art,2 as well as one of the most vocal
and vigorous international exponents of this practice in the visual arts, architecture
and stagedesign. Relying on a stage emptied of the human presence, his emphasis on
scenography suited perfectly the template of futurist synthetic theatre. Through the
disorientation and the widely felt pessimism that accompanied the introduction of liberal capitalism added to its monumental success.
Often referred to as ‘intellectual’ by the Polish theatre critical establishment, Jarocki’s productions were known for their cold precision,
mathematical specificity, emotional restraint and careful stagedesign.
Anna R. Burzyńska (2012) argued that Jarocki created performances for
skeptics, doubters or rationalists who longed to experience significance in
the theatre without recourse to cheap sentiment or gaudy grandeur. Ślub