Audience and Authority in the Modernist Theater of Federico Garcia Lorca (Hardback)

C.C. Soufas

Edité par The University of Alabama Press, 1996
ISBN 10: 0817308172 / ISBN 13: 9780817308179
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Language: English . Brand New Book. Arguably the most significant literary figure of 20th-century Spain, Federico Garcia Lorca (1898-1936) was an accomplished poet, playwright, lecturer, musician, painter, and theater director. After an immensely creative period working in a variety of media, in the early 1930s Lorca turned his attention to writing and staging plays, the most famous of which are Blood Wedding, Yerma, and The House of Bernarda Alba. Despite his international reputation and the widespread translation of his poetry and plays since his assassination by Franco s soldiers in 1936, this is the first study to chart Lorca s specific attitudes toward theater in relation to his historical audience. Soufas provides a reading of Lorca s theater from the vantage point of Modernist aesthetics as well as historical performance dynamics. It is premised on the assumption that Lorca s theater emerges as a consequence of an ongoing dialog with his historical audience, a rather conservative and uncultured milieu that had largely dictated the agenda of the Madrid theater scene during the 1920s. Soufas takes as a critical point of departure the idea that any literary study of theater must also include and account for the complete process by which a script is converted into a stage production. In most instances, dramatic authority is at least in part a function of how well a dramatist deals with the historical audience that initially judges the worth of the productions. Soufas approach solves the problem of how to evaluate Lorca s theater; by placing his work in a performance context, Soufas uncovers a significant aspect of the evolution of Lorca s theater. N° de réf. du libraire

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Synopsis : Arguably the most significant literary figure of 20th-century Spain, Federico Garcia Lorca (1898-1936) was an accomplished poet, playwright, lecturer, musician, painter, and theater director. After an immensely creative period working in a variety of media, in the early 1930s Lorca turned his attention to writing and staging plays, the most famous of which are "Blood Wedding," "Yerma," and "The House of Bernarda Alba." Despite his international reputation and the widespread translation of his poetry and plays since his assassination by Franco's soldiers in 1936, this is the first study to chart Lorca's specific attitudes toward theater in relation to his historical audience. Soufas provides a reading of Lorca's theater from the vantage point of Modernist aesthetics as well as historical performance dynamics. It is premised on the assumption that Lorca's theater emerges as a consequence of an ongoing dialog with his historical audience, a rather conservative and uncultured milieu that had largely dictated the agenda of the Madrid theater scene during the 1920s. Soufas takes as a critical point of departure the idea that any literary study of theater must also include and account for the complete process by which a script is converted into a stage production. In most instances, dramatic authority is at least in part a function of how well a dramatist deals with the historical audience that initially judges the worth of the productions. Soufas' approach solves the problem of how to evaluate Lorca's theater; by placing his work in a performance context, Soufas uncovers a significant aspect of the evolution of Lorca's theater.

Critique: "With a thorough familiarity and grasp of previous Lorcan scholarship (a real achievement in itself!), the author goes on to challenge successfully the sometimes narrow focus of that scholarship and to search for creative authority over the course of his career until his death. The result is a worthy contribution to the understanding of a major world dramatist."--Marion Peter Holt, City University of New York

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Titre : Audience and Authority in the Modernist ...
Éditeur : The University of Alabama Press
Date d'édition : 1996
Reliure : Hardback
Etat du livre : New
Edition : New..

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Soufas, C. Christopher
Edité par University Alabama Press (1996)
ISBN 10 : 0817308172 ISBN 13 : 9780817308179
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Description du livre University Alabama Press, 1996. Hardcover. État : New. book. N° de réf. du libraire 0817308172

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Soufas, C. Christopher
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Description du livre Univ of Alabama Pr, Chicago, Illinois, U.S.A., 1996. Hardcover. État : As New Condition. 8to. A lovely copy. Fast shipping. N° de réf. du libraire 015924

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Description du livre University Alabama Press. Hardcover. État : Good. Dust Cover Missing. Book shows a small amount of wear to cover and binding. Some pages show signs of use. N° de réf. du libraire G0817308172I3N01

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Description du livre Univ Alabama Press. État : BRAND NEW. BRAND NEW Hardcover A Brand New Quality Book from a Full-Time Bookshop in business since 1992!. N° de réf. du libraire 2338145

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Description du livre University Alabama Press, 1996. État : very good. Gently used. Expect delivery in 2-3 weeks. N° de réf. du libraire 9780817308179-3

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C. Christopher Soufas
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Description du livre The University of Alabama Press, 1996. HRD. État : New. New Book. Shipped from UK in 4 to 14 days. Established seller since 2000. N° de réf. du libraire CE-9780817308179

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Description du livre The University of Alabama Press. Hardback. État : new. BRAND NEW, Audience and Authority in the Modernist Theater of Federico Garcia Lorca, C.C. Soufas, Arguably the most significant literary figure of 20th-century Spain, Federico Garcia Lorca (1898-1936) was an accomplished poet, playwright, lecturer, musician, painter, and theater director. After an immensely creative period working in a variety of media, in the early 1930s Lorca turned his attention to writing and staging plays, the most famous of which are "Blood Wedding," "Yerma," and "The House of Bernarda Alba." Despite his international reputation and the widespread translation of his poetry and plays since his assassination by Franco's soldiers in 1936, this is the first study to chart Lorca's specific attitudes toward theater in relation to his historical audience. Soufas provides a reading of Lorca's theater from the vantage point of Modernist aesthetics as well as historical performance dynamics. It is premised on the assumption that Lorca's theater emerges as a consequence of an ongoing dialog with his historical audience, a rather conservative and uncultured milieu that had largely dictated the agenda of the Madrid theater scene during the 1920s. Soufas takes as a critical point of departure the idea that any literary study of theater must also include and account for the complete process by which a script is converted into a stage production. In most instances, dramatic authority is at least in part a function of how well a dramatist deals with the historical audience that initially judges the worth of the productions. Soufas' approach solves the problem of how to evaluate Lorca's theater; by placing his work in a performance context, Soufas uncovers a significant aspect of the evolution of Lorca's theater. N° de réf. du libraire B9780817308179

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C.C. Soufas
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ISBN 10 : 0817308172 ISBN 13 : 9780817308179
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Description du livre The University of Alabama Press, United States, 1996. Hardback. État : New. New.. 237 x 159 mm. Language: English . Brand New Book. Arguably the most significant literary figure of 20th-century Spain, Federico Garcia Lorca (1898-1936) was an accomplished poet, playwright, lecturer, musician, painter, and theater director. After an immensely creative period working in a variety of media, in the early 1930s Lorca turned his attention to writing and staging plays, the most famous of which are Blood Wedding, Yerma, and The House of Bernarda Alba. Despite his international reputation and the widespread translation of his poetry and plays since his assassination by Franco s soldiers in 1936, this is the first study to chart Lorca s specific attitudes toward theater in relation to his historical audience. Soufas provides a reading of Lorca s theater from the vantage point of Modernist aesthetics as well as historical performance dynamics. It is premised on the assumption that Lorca s theater emerges as a consequence of an ongoing dialog with his historical audience, a rather conservative and uncultured milieu that had largely dictated the agenda of the Madrid theater scene during the 1920s. Soufas takes as a critical point of departure the idea that any literary study of theater must also include and account for the complete process by which a script is converted into a stage production. In most instances, dramatic authority is at least in part a function of how well a dramatist deals with the historical audience that initially judges the worth of the productions. Soufas approach solves the problem of how to evaluate Lorca s theater; by placing his work in a performance context, Soufas uncovers a significant aspect of the evolution of Lorca s theater. N° de réf. du libraire AAN9780817308179

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