000			04046cam a22005774a 4500
001			musev2_27375
003			MdBmJHUP
005			20240815120734.0
006			m o d
007			cr||||||||nn|n
008			130508s2013 miu o 00 0 eng d
010			_z 2020707076
020			_a9780472900008
020			_z9780472119073
020			_z9780472029594
020			_z9780472036332
035			_a(OCoLC)862373069
040			_aMdBmJHUP _cMdBmJHUP
100	1		_aRidout, Nicholas Peter.
245	1	0	_aPassionate Amateurs : _bTheatre, Communism, and Love / _cNicholas Ridout.
264		1	_aAnn Arbor : _bThe University of Michigan Press, _c[2013]
264		3	_aBaltimore, Md. : _bProject MUSE, _c2013
264		4	_c©[2013]
300			_a1 online resource (224 pages).
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
490	0		_aTheater: theory/text/performance
505	0		_aTheatre and communism after Athens -- Of work and time -- All theatre, all the time -- Of work, time, and revolution -- Of work, time, and (telephone) conversation -- Solitude in relation.
506	0		_aOpen Access _fUnrestricted online access _2star
520			_aThis book tells a new story about modern theater: the story of a romantic attachment to theater's potential to produce surprising experiences of human community. It begins with one of the first great plays of modern European theater - Chekhov's Uncle Vanya in Moscow - and then crosses the 20th and 21st centuries to look at how its story plays out in Weimar Republic Berlin, in the Paris of the 1960s, and in a spectrum of contemporary performance in Europe and the United States. This is a work of historical materialist theater scholarship, which combines a materialism grounded in a socialist tradition of cultural studies with some of the insights developed in recent times by theorists of affect, and addresses some fundamental questions about the social function and political potential of theater within modern capitalism. This book argues that theater in modern capitalism can help us think afresh about notions of work, time, and freedom. Its title concept is a theoretical and historical figure, someone whose work in theater is undertaken within capitalism, but motivated by a love that desires something different. In addition to its theoretical originality, it offers a significant new reading of a major Chekhov play, the most sustained scholarly engagement to date with Benjamin's "Program for a Proletarian Children's Theatre," the first major consideration of Godard's La chinoise as a "theatrical" work, and the first chapter-length discussion of the work of The Nature Theatre of Oklahoma, an American company rapidly gaining a profile in the European theater scene. This work contributes to the development of theater and performance studies in a way that moves beyond debates over the differences between theater and performance in order to tell a powerful, historically grounded story about what theater and performance are for in the modern world
546			_aEnglish.
588			_aDescription based on print version record.
650		7	_aTheater and society _2fast _0(OCoLC)fst01149315
650		7	_aCommunism and culture _2fast _0(OCoLC)fst00870489
650		7	_aPERFORMING ARTS _xTheater _xHistory & Criticism. _2bisacsh
650		7	_aPERFORMING ARTS _xTheater _xGeneral. _2bisacsh
650		7	_aTheatre studies. _2bicssc
650		7	_aThe arts. _2bicssc
650		6	_aCommunisme et culture.
650		6	_aTheâtre et societe.
650		0	_aCommunism and culture.
650		0	_aTheater and society.
655		7	_aElectronic books. _2local
773	0		_tKnowledge Unlatched
710	2		_aProject Muse. _edistributor
830		0	_aBook collections on Project MUSE.
856	4	0	_zFull text available: _uhttps://muse.jhu.edu/book/27375/
945			_aProject MUSE - 2013 Film, Theater and Performing Arts
945			_aProject MUSE - 2013 Complete
999			_c231348 _d231347