TRAGEDY AND METATHEATRE ESSAYS ON DRAMATIC FORM

Second, this oppositional relationship will not hold water since it quickly becomes apparent, as Martin Puchner points out in the introduction, that the shift from tragedy to metatheatre that Abel describes happens much earlier than he imagined. Indeed, to insiders the very word ‘metatheatre’, coined by Lionel Abel, has become as familiar as the plays the author uses to exemplify his theory. Revaluation Books Exeter, United Kingdom. The primary critical attraction of this collection lies in moments scattered amongst the main tragedy-versus-metatheatre argument. Essays on Dramatic Form Abel, Lionel.

For example, in “Genet and Metatheatre” Abel describes “a new feeling of reality” when the audience is made aware of the costume as costume: However, the conclusions drawn from this observation ultimately stall around the idea that Hamlet ‘s world is a stage and therefore is not a tragedy. More information about this seller Contact this seller. The Story of Drama: Having identified the modern, existential dilemma for both playwright and audience , Abel sets out to provide a theory for its resolution. Synopsis About this title Lionel Abel’s original Metatheatre, now published in the company of new essays, has inspired a whole generation of playwrights and critics since it first appeared in

View all copies of this ISBN tragedy and metatheatre essays on dramatic form My library Help Advanced Book Search. As Abel surveys two millennia of great dramatic works, a number of intriguing but fragmented ideas are generated, but remain tantalizingly undeveloped and unconnected.

In lieu of an abstract, here is a brief excerpt of the content: Content Title Author Publisher. Abel’s basic premise is that ‘tragedy is difficult if not altogether impossible for the modern dramatist’.

Having identified the modern, existential dilemma for both playwright and audienceAbel sets out to provide a theory for its resolution. If you would like to authenticate using a different subscribed institution that supports Shibboleth authentication or have your own login and password to Project MUSE, click ‘Authenticate’. Tragedy and metatheatre essays on dramatic form Books Exeter, United Kingdom. Having extensively surveyed the literature of metatheatrical theory and criticism for my dissertation, I am inclined to agree with this assessment.

Theatre Journal Volume 58, Number 1, March pp.

As more than simple manifestations of the play-within-a-play device, these plays are “theatre pieces about life seen as already theatricalized” vi.

And if anyone thinks Lionel Abel has tempered his style be forewarned: The term “metatheatre” now so casually bandied about, and sometimes with little acknowledgement of its origins, was first coined by Lionel Abel in New Paperback Quantity Available: For how could any theatre not know, somehow, and show that it knows, somehow, what tragedy and metatheatre essays on dramatic form means to be theatre” And so even the earliest definitive tragedies inevitably express some metatheatrical elements.

Through the reissue of this historical artifact, Abel’s conception of metatheatre is restored to our collective attention with an invitation to assess its continuing impact. Essays on Dramatic Form. Neither of the two new contributions, “What is Tragedy?

Tragedy and metatheatre : essays on dramatic form / Lionel Abel. ( edition) | Open Library

Use the simple Search box at tragedy and metatheatre essays on dramatic form top of the page or the Advanced Search linked from the top of the page to find book and journal content.

For example, in the essay ” Hamlet Q. The Theatre and Literary Culture. It behooves me, therefore, to tragedy and metatheatre essays on dramatic form consider Abel’s legacy in light of current scholarship, reflecting back across the intervening four decades. New Softcover Quantity Available: The Story of Drama: Pavis’s entry on metatheatre in his Dictionary of the Theatre rightly acknowledges Abel as the originator of the term, but dismisses the rest of his treatise as simply an extension of the theatrum mundi metaphor This specific ISBN edition is currently not available.

Having identified the modern, existential dilemma for both playwright and audienceAbel sets out to provide a theory for its resolution. To that end, twelve of the essays appearing in the original book have been reproduced here, rounded out by four more reprints from other sources and two new works. Lionel Abela distinguished essayist and critic, was also an Obie-winning playwright.

Tragedy and Metatheatre aims “to reconnect metatheatre to its originator and thus to use Abel’s work as a point of departure for rethinking the term metatheatre as a powerful tool for understanding tragedy and metatheatre essays on dramatic form history of theatre” 1.

Buy New View Book. Other editions – View all Tragedy and metatheatre: More information about this seller Contact this seller. In doing so he illuminates plays by Sophocles, Shakespeare, Calderon, Racine, Wilde, Genet, Brecht, Beckett, Pirandello, and others with ease and probity, offering a new generation of readers fresh, insightful interpretations.

Other Popular Editions of the Same Title.

The primary critical attraction of this collection lies in moments scattered amongst the main tragedy-versus-metatheatre argument. Essays on Dramatic Form. And if anyone thinks Lionel Abel has tempered his style be forewarned: Essays on Dramatic Form Abel, Lionel.

ISBN 13: 9780841913530

Reviewed by Jenn Stephenson Tragedy and Metatheatre: But rather than bemoan plays like Hamlet and Life is a Dream as failed tragedies, Abel grouped them into the new-minted form of metatheatre. Abel’s basic premise is that ‘tragedy is difficult if not altogether impossible for the modern dramatist’. Book titles OR Tragedy and metatheatre essays on dramatic form titles. Synopsis About this title Lionel Abel’s original Metatheatre, now published in the company of new essays, has inspired a whole generation of playwrights and critics since it first appeared in As in his opening critique of those he considers to be playing ‘language games’, his criticism remains as piercing as ever.

First, it circumscribes definition and analysis of this self-reflexive phenomenon within the proposed generic contrast to classical tragedy, thereby limiting consideration of other aspects.