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Theater after Film
Language:
English
Published/Copyright:
2025
About this book
A study of the impact of film and mass culture on drama after World War II.
In Theater after Film, Martin Harries argues that after 1945, as cinema became omnipresent in popular culture, theater had to respond to cinema’s hegemony. Theater couldn’t break that hegemony, but it could provide a zone of contestation. Theater made film’s domination of the cultural field visible through hyperbole, refusal, and other strategies, thereby unsettling its power. Postwar theatrical experiment, Harries shows, often channeled and represented film’s mass cultural force, while knowing that it could never possess that force. Throughout the book, Harries brings critical theory into contact with theories of performance. Although Theater after Film treats the theatrical work of many figures, its central focus falls on Tennessee Williams, Samuel Beckett, and Adrienne Kennedy. Discussions of these dramatists consider their ways of addressing spectators, the politics of race between film and theater, and the place of the theatrical apparatus. Readings of these central figures in twentieth-century theater exemplify the book’s historical engagement with the media surround that drama confronted. This confrontation, Harries shows, was central to the development of some of the most continually compelling postwar drama.
In Theater after Film, Martin Harries argues that after 1945, as cinema became omnipresent in popular culture, theater had to respond to cinema’s hegemony. Theater couldn’t break that hegemony, but it could provide a zone of contestation. Theater made film’s domination of the cultural field visible through hyperbole, refusal, and other strategies, thereby unsettling its power. Postwar theatrical experiment, Harries shows, often channeled and represented film’s mass cultural force, while knowing that it could never possess that force. Throughout the book, Harries brings critical theory into contact with theories of performance. Although Theater after Film treats the theatrical work of many figures, its central focus falls on Tennessee Williams, Samuel Beckett, and Adrienne Kennedy. Discussions of these dramatists consider their ways of addressing spectators, the politics of race between film and theater, and the place of the theatrical apparatus. Readings of these central figures in twentieth-century theater exemplify the book’s historical engagement with the media surround that drama confronted. This confrontation, Harries shows, was central to the development of some of the most continually compelling postwar drama.
Author / Editor information
Martin Harries is professor of comparative literature at the University of California, Irvine. He is the author of Forgetting Lot’s Wife: On Destructive Spectatorship and Scare Quotes from Shakespeare: Marx, Keynes, and the Language of Reenchantment.
Reviews
“An intellectually thrilling account of postwar theater’s aesthetic enmeshment in—and contestation of—mass media. Harries’s writing is unparalleled in its combination of rigorous historicism, searching theoretical inquiry, and brilliant close reading. In a series of illuminating essays, Harries shows how the very particularities that have consigned theater artists to distinct canons actually form a ‘dialectical sequence’ of profound investigations into modern spectatorship. Anyone who cares about what stage plays can be in a society dominated by other media ought to read Theater after Film.”
— Julia Jarcho, Brown University“Theater after Film is that rare thing: a book that achieves a decisive theoretical intervention by means of the most scrupulous critical attention to its chosen historical and aesthetic materials. Harries’s writing is elegant and precise, wrought with extraordinary care from extensive study and deep thought. His work offers readers a richly historicized understanding of theatrical responses to the media culture inaugurated by film.”
— Nicholas Ridout, Queen Mary University of London“There is nothing in studies of postwar theater to match the theoretical elegance of this book and the lucidity of its critical address. Harries’s readings, like his reflections on his methodology, are as scrupulous as they are generous. Each essay offers both intricate analyses of particular works and revelatory conclusions about theater’s potential as a site of aesthetic and ideological contestation. This book is transformative. You read it, and the sky lights up.”
— Shonni Enelow, Fordham University"[This book] is about how several post-WWII playwrights reacted to the emerging dominance of cinema, using their plays to confront film’s media mastery and resist the threat of globalist mass culture. The argument is as much informed by theorists—Adorno, Brecht, Benjamin, Artaud, Barthes, etc.—as by the works of the playwrights Harries uses as exemplars: 60 percent of the book is devoted to discussions of the plays of Tennessee Williams, Samuel Beckett, and Adrienne Kennedy."
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Frontmatter
i -
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Dedication
v -
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Contents
vii -
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ONE Preface
1 -
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TWO Incommunication
3 -
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THREE Theater /Media
4 -
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FOUR Demolition of a Theater (1901)
6 -
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FIVE Residual Becomes Emergent
8 -
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SIX Medium/Media/Remediation in Reverse
14 -
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SEVEN Theater /Film
20 -
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EIGHT Apparatus
26 -
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NINE Williams, Beckett, Kennedy
28 -
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TEN Walter Benjamin's Work of Art Essay
31 -
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ELEVEN Benjamin's Medium
41 -
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TWELVE Modernism: Shaw, Lorca, Brecht
52 -
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THIRTEEN Participation in Postwar Theater
61 -
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FOURTEEN Artaud's Voice against Radio
85 -
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FIFTEEN Publics
94 -
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SIXTEEN Handke's Offending the Audience
97 - TENNESSEE WILLIAMS
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SEVENTEEN Williams's Material
111 -
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EIGHTEEN Learning Sexual Violence with Tennessee Williams, or Streetcar in Pictures
114 -
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NINETEEN Lead Belly's Guitar and Williams's Counterpublics
130 - SAMUEL BECKETT
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TWENTY Beckett, Cinema, Politics
151 -
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TWENTY-ONE Film and Its Audiences
153 -
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TWENTY-TWO Catastrophe: Fixing the Audience
179 -
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TWENTY-THREE Endgame, Postwar Mass Culture, and Forms of Address
190 -
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TWENTY-FOUR Beckett, the Proscenium, Media
201 -
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TWENTY-FIVE Product Placement
214 - ADRIENNE KENNEDY
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TWENTY-SIX Theater after Hollywood
225 -
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TWENTY-SEVEN A Movie Star in 1976
233 -
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TWENTY-EIGHT The Author as Produced: Hollywood /Jim Crow
247 -
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TWENTY-NINE Diary of Lights
254 -
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THIRTY Afterword / After Theater
258 -
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Acknowledgments
261 -
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Bibliography
265 -
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Index
285
Publishing information
Pages and Images/Illustrations in book
eBook published on:
April 29, 2025
eBook ISBN:
9780226838724
Pages and Images/Illustrations in book
eBook ISBN:
9780226838724
Keywords for this book
Cinema; Movies; Postwar; Hegemony; Contestation; Tennessee Williams; Samuel Beckett; Adrienne Kennedy; Spectators; Race; Theatrical apparatus; Media; Drama; Popular culture; Hyperbole; Refusal; World War II; Omnipresence; Domination; Engagement; Adaptation; Performance; Audience; Visibility; Stage; Screen; Comparison; Cultural shift; Artistic response; Influence; Critique; Resistance; Narrative; Representation; Aesthetics; Medium; Spectatorship; Discourse; Innovation; Transformation
Audience(s) for this book
For an expert adult audience, including professional development and academic research
