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Endorsements
After '89 takes as its subject the dynamic new range of performance practices that have been developed since the demise of communism in the flourishing theatrical landscape of Poland. The theatre has subsequently retained its historical role as the crucial space for debating and interrogating cultural and political identities. Providing access to scholarship and criticism not readily available to an English-speaking readership, this study surveys the rebirth of the theatre as a site of public intervention and social criticism since the establishment of democracy and the proliferation of theatre makers that have flaunted cultural commonplaces and begged new questions of Polish culture. The book suggests that a radical democratic pluralism is only tenable through the destabilisation of attempts to essentialise Polish national identity, focusing on the development of new theatre practices that interrogate the rise of nationalism, alternative sexual identities and forms of kinship, gender equality, contested histories of antisemitism and postcolonial encounters. A new theory of political theatre is elaborated as part of the public sphere. It is argued that the most significant change in performance practice after 1989 has been from opposition to the state to a more pluralistic practice that engages with marginalised identities purposefully left out of the rhetoric of freedom and independence. This book will appeal to academics and students in theatre and performance studies and Eastern European studies.
Reviews
After '89 takes as its subject the dynamic new range of performance practices that have been developed since the demise of communism in the flourishing theatrical landscape of Poland. The theatre has subsequently retained its historical role as the crucial space for debating and interrogating cultural and political identities. Providing access to scholarship and criticism not readily available to an English-speaking readership, this study surveys the rebirth of the theatre as a site of public intervention and social criticism since the establishment of democracy and the proliferation of theatre makers that have flaunted cultural commonplaces and begged new questions of Polish culture. The book suggests that a radical democratic pluralism is only tenable through the destabilisation of attempts to essentialise Polish national identity, focusing on the development of new theatre practices that interrogate the rise of nationalism, alternative sexual identities and forms of kinship, gender equality, contested histories of antisemitism and postcolonial encounters. A new theory of political theatre is elaborated as part of the public sphere. It is argued that the most significant change in performance practice after 1989 has been from opposition to the state to a more pluralistic practice that engages with marginalised identities purposefully left out of the rhetoric of freedom and independence. This book will appeal to academics and students in theatre and performance studies and Eastern European studies.
Author Biography
Maria M. Delgado is Director of Research at Royal Central School of Speech and Drama; Maggie B. Gale is Professor and Chair in Drama at The University of Manchester Maggie B. Gale is Senior Lecturer in Drama and Theatre Arts at the University of Birmingham
Manchester University Press
Manchester University Press is a leading UK publisher known for excellent research in the humanities and social sciences.
View all titlesBibliographic Information
- Publisher Manchester University Press
- Publication Date August 2016
- Orginal LanguageEnglish
- ISBN/Identifier 9781784992958 / 178499295X
- Publication Country or regionUnited Kingdom
- Primary Price 110 USD
- ReadershipGeneral/trade
- Publish StatusPublished
- Dimensions216 X 138 mm
- SeriesTheatre: Theory – Practice – Performance
- Reference Code4200
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