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BL
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| Record Number
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865101
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| Main Entry
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Kallenbach, Ulla
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| Title & Author
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The theatre of imagining : : a cultural history of imagination in the mind and on the stage /\ Ulla Kallenbach.
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| Publication Statement
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Cham, Switzerland :: Palgrave Macmillan,, [2018]
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| Page. NO
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1 online resource
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| ISBN
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3319763032
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: 9783319763033
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3319763024
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9783319763026
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| Bibliographies/Indexes
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Includes bibliographical references and index.
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| Contents
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Intro; Acknowledgments; A Note on Translations and Citations; Contents; List of Figures; List of Models; Chapter 1: Introduction; Text-Performance-Dramaturgy; The Implied Spectator; Imagination; Physicalization; Approach and Theoretical Positions; Plan of the Present Work; References; Chapter 2: The Mirror and the Messenger; Plato: Imagination and Imitation; Mimesis, Eikasia, Phantasia; "The Creator of the Phantom": Imagination and Imitation; Aristotle: Imagination as an Intermediary Faculty; Poetics and Mimesis; References
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Asides, Soliloquies and Spectacles: Rebellion and ComplicityAudience Space: Precarious Space; References; Chapter 5: From Mirror to Lamp; Kant: The Productive Imagination; An Aesthetics of the Genius; Coleridge: The Creative Imagination; Imagination Materialized; References; Chapter 6: The Disenchantment of the Idealist Imagination; Aladdin and Peer Gynt; Scandinavian Idealism: Two Versions of the Ideal; Steffens and Oehlenschläger; Heiberg; The Light of the Lamp; The Aesthetic Imagination and the Ideal Imaginative Intuition; A Temple of Art; The Decline of Imagination
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Chapter 3: Corruption or Perfection? The Precariousness of the Early Modern ImaginationThe Distorting Mirror and the Corrupt Messenger; Corrupt Messenger; Distorting Mirror; The Force of Imagination; Treasonous Imagination; To Hold "The Mirror Up to Nature": Imagination on the Stage; Feigning to Distortion; The Conspiracy of the Spectator; Distortion to Perfection; References; Chapter 4: Macbeth: A Dramaturgy of Deceit; The Dramaturgy of the Stage; "Hover Through the Fog and Filthy Air"; Onstage/Offstage; The Kaleidoscope; The Dynamics of the Stage; Expanded Space: Regicide
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Imagination as RenegotiationImagination and Psychoanalysis; The Modern Imagination; Time and Space; The Spectator, the Actor and the Imaginary; References; Chapter 9: The Killer: The Interplay of Absence and Presence; The Radiant City; Renegotiating the Stage; Activating Strategies: Modes of Consciousness; Parallels and Antitheses; A Dramaturgy of Distortion: The Grotesque; The Kaleidoscope 2.0; Partial Visibility; Simultaneous and Conflicting Perspectives; The Killer: The Visible and the Invisible; The Spaces of The Killer; References
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Kierkegaard and the Existentialist ImaginationPhantasts; From Imagination to the Imaginary; References; Chapter 7: A Doll's House: Performing the Cultural Imaginary; Nora, Helmer and the Break with Idealism; Tarantella; Italy in Scandinavian Cultural Life; Tarantellas on Stage; Gioacchino; Nora's Tarantella, Helmer's Tarantella; Tarantism; Costume; The Madonna; Fading Lights: Christmas; Fading Ideals; References; Chapter 8: The Late Modern Reimagining of Imagination; The Intentional Imagination: Imagination as a Mode of Consciousness; Imagination and Perception; Absence as Negation
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| Abstract
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This book is the first comprehensive analysis of the fascinating and strikingly diverse history of imagination in the context of theatre and drama. Key questions that the book explores are: How do spectators engage with the drama in performance, and how does the historical context influence the dramaturgy of imagination? In addition to offering a study of the cultural history and theory of imagination in a European context including its philosophical, physiological, cultural and political implications, the book examines the cultural enactment of imagination in the drama text and offers practical strategies for analyzing the aesthetic practice of imagination in drama texts. It covers the early modern to the late modernist period and includes three in-depth case studies: William Shakespeare's Macbeth (c.1606); Henrik Ibsen's A Doll's House (1879); and Eugène Ionesco's The Killer (1957).
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| Subject
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Creation (Literary, artistic, etc.)
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Drama-- History and criticism.
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Imagination.
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Theater-- Psychological aspects.
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Creation (Literary, artistic, etc.)
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Drama.
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Imagination.
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PERFORMING ARTS-- Theater-- General.
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Theater-- Psychological aspects.
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| Dewey Classification
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792
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| LC Classification
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PN1655
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