Download American Theater in the Culture of the Cold War: Producing by Bruce A. Mcconachie PDF

By Bruce A. Mcconachie

On hand December 2003 during this groundbreaking learn, Bruce McConachie makes use of the first metaphor of containment—what occurs after we categorize a play, a tv exhibit, or whatever we view as having an inside of, an out of doors, and a boundary among the two—as the dominant metaphor of chilly struggle theatergoing. Drawing at the cognitive psychology and linguistics of George Lakoff and Mark Johnson, he offers strange entry to the ways that spectators within the chilly struggle years projected themselves into level figures that gave them excitement. McConachie reconstructs those cognitive strategies via hoping on scripts, set designs, experiences, memoirs, and different facts. After constructing his theoretical framework, he specializes in 3 archtypal figures of containment major in chilly warfare tradition, Empty Boys, family members Circles, and Fragmented Heroes. McConachie makes use of a number of performs, musicals, and smooth dances from the dominant tradition of the chilly struggle to debate those figures, together with The Seven yr Itch, Cat on a scorching Tin Roof; The King and I,A Raisin within the solar, evening trip, and The Crucible. In an epilogue, he discusses the legacy of chilly struggle theater from 1962 to 1992. unique and provocative, American Theater within the tradition of the chilly conflict illuminates the brain of the spectator within the context of chilly warfare tradition; it makes use of cognitive reviews and media concept to maneuver clear of semiotics and psychoanalysis, forging a brand new method of reading theater historical past.

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Additional info for American Theater in the Culture of the Cold War: Producing and Contesting Containment, 1947-1962 (Studies Theatre Hist & Culture)

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For Saltz, semiotics misleads critics about an audience’s experience in the theater: “Spectators do not always, or even usually, treat theatrical performance as a text from which to extract details about a fictional world. ” 29 Cognitive science provides insight into the possible relationships between the “force of the performers’ actions” and the spectators. Drawing on experiments from several researchers, Lakoff and Johnson discuss the primary means by which humans imaginatively identify themselves with others in fictitious, “seeing as” situations.

Susan Sontag links the popularization of photography to multiple processes of rationalization and secularization, the primary engines of modernity. The gradual shift from a belief in unseen forces that could only be indicated but never made manifest through print — political, religious, and economic forces — to a belief in visual realities actually seen through photographs leveled political hierarchies, eroded religious faith, and advanced capitalist consumerism. Because photographs and moving pictures are necessarily linked to the world of objects, they tend to enhance the solidity and factuality of material realities.

Since theatergoing is a subspecies of imaginative game playing, an analogy to the enjoyment of American football may be helpful. Football was popular among pockets of the American business class before World War II, but it did not achieve the status of a major national sport until the mid 1950s. Most spectators watching Johnny Unitas and the Baltimore Colts win the 1958 and 1959 National Football League championships, whether at the stadium or on television, identified with one of the teams and empathetically projected themselves onto specific figures during the action.

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