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Eric Salzman and Thomas Desi, The New MusicTheater: Seeing the Voice, Hearing the Body (New York: Oxford University Press, 2008), ISBN 978-0-19-509936-2
Published online by Cambridge University Press: 04 August 2011
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References
1 See Bloom, Harold, The Anxiety of Influence: a Theory of Poetry (New York: Oxford University Press, 1973)Google Scholar .
2 See Lehmann, Hans-Thies, Postdramatic Theatre (London: Routledge, 2006)Google Scholar .
3 See, among others, Cook, Nicholas, Analysing Musical Multimedia (Oxford: Clarendon, 1998)Google Scholar .
4 The key publication is Wimsatt, William K. and Beardsley, Monroe C., ‘The Intentional Fallacy’, Sewanee Review 54 (1946), 468–488Google Scholar ; rev. version in The Verbal Icon: Studies in the Meaning of Poetry (Lexington, KY: University of Kentucky Press, 1954), 3–18.
5 ‘Thick description’ is, of course, a term introduced by the anthropologist Clifford Geertz; see, among others, his The Interpretation of Cultures: Selected Essays (New York: Basic Books, 1973).
6 See, among others, Fischer-Lichte, Erika, Ästhetische Erfahrung: das Semiotische und das Performative (Tübingen: Francke, 2001)Google Scholar .
7 Schechner, Richard, Performance Studies: an Introduction (London: Routledge, 2002)Google Scholar ; Auslander, Philip, Liveness: Performance in a Mediatized Culture (London: Routledge, 1999)Google Scholar ; Hans-Thies Lehmann, Postdramatic Theatre; Fischer-Lichte, Erika, The Semiotics of Theater (Bloomington: Indiana University Press, 1992)Google Scholar ; and ‘Die Oper als “Prototyp des Theatralischen”: zur Reflexion des Aufführungsbegriffs in John Cages Europeras 1 & 2’, in Musiktheater heute: Internationales Symposion der Paul Sacher Stiftung Basel 2001, ed. Hermann Danuser in collaboration with Matthias Kassel (Basel and Mainz: Schott, 2003), 283–308; Pavis, Patrice, L'analyse des spectacles: théâtre, mime, danse, danse-théâtre, cinéma (Paris: Nathan, 1996)Google Scholar . Note, too, the very useful introduction to the genre provided by Adlington, Robert, ‘Music Theatre since the 1960s’, in The Cambridge Companion to Twentieth-Century Opera, ed. Cooke, Mervyn (Cambridge: Cambridge University Press, 2005), 225–243Google Scholar .