Hostname: page-component-78c5997874-dh8gc Total loading time: 0 Render date: 2024-11-13T01:54:57.982Z Has data issue: false hasContentIssue false
  • English
  • Français

Introduction: Being There: Performance as Mise-en-Scène, Abscene, Obscene, and Other Scene

Published online by Cambridge University Press:  23 October 2020

Kimberly W. Benston
Get access Rights & Permissions [Opens in a new window]

Abstract

An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Introduction
Information
PMLA , Volume 107 , Issue 3: Special Topic: On Poetry , May 1992 , pp. 434 - 449
Copyright
Copyright © Modern Language Association of America, 1992

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Works Cited

Artaud, Antonin. The Theater and Its Double. Trans. Richards, Mary Caroline. New York: Grove, 1958.Google Scholar
Austin, J. L. How to Do Things with Words. London: Oxford UP, 1963.Google Scholar
Bakhtin, Mikhail. Problems of Dostoevsky's Poetics. Trans. Rostel, R. W. Ann Arbor: Ardis, 1973.Google Scholar
Barba, Eugenio. “Theatre Anthropology.” Trans. Fowler, Richard. Drama Review 26 (1982): 5–32.CrossRefGoogle Scholar
Barba, Eugenio, and Savarese, Nicola. A Dictionary of Theatre Anthropology: The Secret Art of the Performer. New York: Routledge, 1991.Google Scholar
Barish, Jonas. The Anti-theatrical Prejudice. Berkeley: U of California P, 1981.Google Scholar
Barthes, Roland. S/Z. Trans. Miller, Richard. New York: Hill, 1974.Google Scholar
Baudrillard, Jean. Simulations. Trans. Paul Foss, Paul Patton, and Beitchman, Philip. New York: Semiotext(e), 1983.Google Scholar
Beckett, Samuel. Waiting for Godot. New York: Grove, 1954.Google Scholar
Berke, Richard L. “Thomas Accuser Tells Hearing of Obscene Talk and Advances; Judge Complains of ‘Lynching.‘” New York Times 11 Oct. 1991: A1+.Google Scholar
Bhabha, Homi. “Signs Taken for Wonders: Questions of Ambivalence and Authority under a Tree outside Delhi, May 1817.” Critical Inquiry 12 (1985): 144–14.Google Scholar
Blau, Herbert. Blooded Thought: Occasions of Theater. New York: Performing Arts Journal, 1982.Google Scholar
Brecht, Bertolt. Brecht on Theatre: The Development of an Aesthetic. Ed. and trans. Willett, John. New York: Hill, 1964.Google Scholar
Brecht, Bertolt. Mother Courage and Her Children. Trans. Bentley, Eric. London: Methuen, 1962.Google Scholar
Brewer, Márie Minich. “Performing Theory.” Theatre Journal 37 (1985): 12–30.CrossRefGoogle Scholar
Cole, Toby, and Chinoy, Helen Krich. Directing the Play. New York: Bobbs, 1953.Google Scholar
Deleuze, Gilles. “Nomad Thought.” Trans. R. Cohen. The New Nietzsche: Contemporary Styles of Interpretation. Ed. Allison, David B. New York: Delta, 1979. 142–14.Google Scholar
de Man, Paul. Allegories of Reading. New Haven: Yale UP, 1979.Google Scholar
Derrida, Jacques. Speech and Phenomena. Trans. Allison, David B. Evanston: Northwestern UP, 1973.Google Scholar
Diamond, Elin. “Mimesis, Mimicry, and the ‘True-Real.‘” Modern Drama 32 (1989): 58–72.Google Scholar
“Excerpts from Senate's Hearings on the Thomas Nomination.” New York Times 11 Sept. 1991: A22.Google Scholar
Feral, Josette. “Performance and Theatricality: The Subject Demystified.” Trans. Terese Lyons. Modern Drama 25 (1982): 170–17.Google Scholar
Foucault, Michel. Discipline and Punish: The Birth of the Prison. Trans. Sheridan, Alan. New York: Vintage-Knopf, 1979.Google Scholar
Freedman, Barbara. Staging the Gaze. Ithaca: Cornell UP, 1991.CrossRefGoogle Scholar
Fried, Michael. “Art and Objecthood.” Minimal Art. Ed. Battcock, Gregory. New York: Dutton, 1968. 116–11.Google Scholar
Grotowski, Jerzy. Towards a Poor Theatre. Trans. Wiewiorowski, T. K. Holstebro, Den.: Odin Theatrets, 1968.Google Scholar
Kalb, Jonathan. Beckett in Performance. Cambridge: Cambridge UP, 1989.Google Scholar
Lyotard, Jean-François. The Differend: Phases in Dispute. Trans. G. Van den Abbeele. Minneapolis: U of Minnesota P, 1983.Google Scholar
Marshall, David. The Figure of Theater: Shaftesbury, Defoe, Adam Smith, and George Eliot. New York: Columbia UP, 1986.Google Scholar
Murray, Timothy. Performance Reading. New York: Routledge, forthcoming.Google Scholar
Nägele, Rainer. Reading after Freud: Essays on Goethe, Hölderlin, Habermas, Nietzsche, Brecht, Celan, and Freud. New York: Columbia UP, 1987.Google Scholar
Pontbriand, Chantal. “‘The Eye Finds No Fixed Point on Which to Rest.‘” Trans. C. R. Parsons. Modern Drama 25 (1982): 154–15.Google Scholar
Robbe-Grillet, Alain. For a New Novel. Trans. Howard, Richard. New York: Grove, 1965.Google Scholar
Schechner, Richard. Essays on Performance Theory, 1970–1976. New York: Drama Book Specialists, 1977.Google Scholar
Searle, John R. “Reiterating the Differences.” Glyph 1 (1977): 198–208.Google Scholar
Shakespeare, William. The Complete Signet Classic Shakespeare. Ed. Barnet, Sylvan. New York: Harcourt, 1972.Google Scholar
Steiner, George. The Death of Tragedy. New York: Knopf, 1961.Google Scholar
Turner, Victor. From Ritual to Theatre: The Human Seriousness of Play. New York: Performing Arts Journal, 1982.Google Scholar