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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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.

From the Back Cover: Audience and Authority in the Modernist Theater of Frederico Garcia Lorca is the first book to provide 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 theater agenda of the Madrid theater scene during the 1920s.

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Détails bibliographiques

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. État : Very Good. Former Library book. Great condition for a used book! Minimal wear. N° de réf. du libraire GRP79309487

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

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Description du livre University 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 2427949

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Description du livre The University of Alabama Press, United States, 1996. Hardback. État : New. New.. Language: English . This book usually ship within 10-15 business days and we will endeavor to dispatch orders quicker than this where possible. 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 BTE9780817308179

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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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Description du livre The University of Alabama Press, United States, 1996. Hardback. État : New. New.. 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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