American Theater in the Culture of the Cold War: Producing by Bruce A. Mcconachie

By Bruce A. Mcconachie

To be had December 2003 during this groundbreaking examine, Bruce McConachie makes use of the first metaphor of containment—what occurs once we categorize a play, a tv exhibit, or whatever we view as having an inside of, 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 battle years projected themselves into degree figures that gave them excitement. McConachie reconstructs those cognitive procedures by means of counting on scripts, set designs, experiences, memoirs, and different facts. After constructing his theoretical framework, he makes a speciality of 3 archtypal figures of containment major in chilly struggle tradition, Empty Boys, kinfolk Circles, and Fragmented Heroes. McConachie makes use of more than a few performs, musicals, and sleek dances from the dominant tradition of the chilly warfare to debate those figures, together with The Seven 12 months Itch, Cat on a sizzling Tin Roof; The King and I,A Raisin within the solar, evening trip, and The Crucible. In an epilogue, he discusses the legacy of chilly conflict theater from 1962 to 1992. unique and provocative, American Theater within the tradition of the chilly battle illuminates the brain of the spectator within the context of chilly conflict tradition; it makes use of cognitive experiences and media thought to maneuver clear of semiotics and psychoanalysis, forging a brand new method of studying theater heritage.

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Extra info for American Theater in the Culture of the Cold War: Producing and Contesting Containment, 1947-1962 (Studies Theatre Hist & Culture)

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On one level, of course, spectators can think whatever they please in the playhouse. Frequent random acts of cognition are unlikely, however, simply because the environment of the auditorium and the events on stage invite certain kinds of identifications and projections and not others. As Lakoff and Johnson understand, the world pushes back against human perceptions; consequently, the minds of audience members, shaped by evolution, the experience of living on earth, and historical culture, will tend to take welltraveled routes of cognition to gain comprehension.

For much of its first decade, between 1947 and 1957, commercial television was little more than radio with a picture. This was partly because the major networks transferred many of their most popular evening shows from radio to TV in the early 1950s with few changes in their writing, singing, acting, announcing, and joketelling conventions. Further, the blurred, black-and-white picture limited the kinds of environments that TV shows could utilize and kept most camera work to medium shots and close-ups.

38 The argument of this book is not that early cold war spectators always processed their theatrical involvement through metaphors of containment. An analysis of representative popular performances and their historical context, however, shows that containment and other primary metaphors of the period shaped significant interactions between the stage and most spectators during the 1947– 1962 period. Cognitive processes are presemiotic. ) must be separated from the theatrical experience itself. Play reviews, for example, are shaped by journalism and other discursive protocols; they never analyze the momentto-moment response of the critic to the performance, much less her or his engagement at the level of the cognitive unconscious.

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American Theater in the Culture of the Cold War: Producing by Bruce A. Mcconachie
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