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By Bruce A. Mcconachie
On hand December 2003 during this groundbreaking research, Bruce McConachie makes use of the first metaphor of containment—what occurs after we categorize a play, a tv convey, or something we view as having an within, an outdoor, and a boundary among the two—as the dominant metaphor of chilly warfare theatergoing. Drawing at the cognitive psychology and linguistics of George Lakoff and Mark Johnson, he presents strange entry to the ways that spectators within the chilly warfare years projected themselves into degree figures that gave them excitement. McConachie reconstructs those cognitive methods by way of hoping on scripts, set designs, studies, memoirs, and different proof. After constructing his theoretical framework, he specializes in 3 archtypal figures of containment major in chilly warfare tradition, Empty Boys, kinfolk Circles, and Fragmented Heroes. McConachie makes use of quite a number performs, musicals, and glossy dances from the dominant tradition of the chilly battle to debate those figures, together with The Seven yr Itch, Cat on a scorching Tin Roof; The King and I,A Raisin within the sunlight, 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 conflict tradition; it makes use of cognitive reports and media conception to maneuver clear of semiotics and psychoanalysis, forging a brand new method of studying 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)
40 ■ The speciﬁcity of aesthetic and rhetorical dynamics in the theater necessarily throws theatrical production and response into the arena of history. 41 As several theorists and historians have argued, changes in the major communication practices of a culture alter how people conceive of reality. According to Walter J. ” The effects of new media on older forms of communication in a culture, including live theater, however, cannot be charted in straightforward, cause-effect patterns. Writing about the impact of print on the plays of William Congreve and late Restoration theater, Julie Stone Peters notes: “There is no direct and necessary set of equivalences between orality and the live theater, and literacy and the printed drama.
A wily hero and his voyage home had signiﬁcant valence for ancient Greeks listening to the story of Odysseus. Cold war Americans needed stories about Empty Boys growing up to be men, Family Circles bunkered to defend themselves against dangerous Others, and Fragmented Heroes struggling to pull themselves together. If imaginative projection and narrative expectation couple spectators to the presence of actors embedded in stories and if the rhetoric of the theater can no longer be separated from its aesthetics, how can an expanded sense of rhetoric and aesthetics be forged for interpreting and explaining the linkage between audiences and performers during the cold war theater?
Occasionally, this single voice would also play one or more duplicitous roles in the drama, as in the alter-ego of the Shadow and the three characters (one also doubling as narrator) in I Led Three Lives for the FBI. All of these dramatic programs, however, carefully segregated the essential, Platonic personality of the protagonist from the other roles that he — most multiple-role 34 A Theater of Containment Liberalism ﬁgures were male — might be playing. Usually the narrators/protagonists in these voice-over programs separated an essential, sincere self from other selves by sharing with auditors the intimate thoughts and feelings of their true, Platonic selves.
American Theater in the Culture of the Cold War: Producing and Contesting Containment, 1947-1962 (Studies Theatre Hist & Culture) by Bruce A. Mcconachie