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Taking it to the streets : the social protest theater of Luis Valdez and Amiri Baraka

作者: Harry Justin Elam
出版商: Ann Arbor : University of Michigan Press, ©1997.
叢書: Theater--theory/text/performance.
版本/格式:   Print book : 州政府或者省政府刊物 : 英語所有版本和格式的總覽
資料庫:WorldCat
提要:
The performances of Luis Valdez's El Teatro Campesino, the farmworkers' theater, and Amiri Baraka's Black Revolutionary Theater (BRT) during the '60s and '70s offer preeminent examples of social protest theater during a momentous and tumultuous historical juncture.
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詳細書目

類型/形式: Criticism, interpretation, etc
其他的實體格式: Online version:
Elam, Harry Justin.
Taking it to the streets.
Ann Arbor : University of Michigan Press, ©1997
(OCoLC)648669012
提及的人: Luis Valdez; Amiri Baraka; Imamu Amiri Baraka; Luis Valdez; Amiri Baraka; Luis Valdez; Imamu Amiri Baraka; Luis Valdez
資料類型: 政府刊物, 州政府或者省政府刊物
文件類型: 圖書
所有的作者/貢獻者: Harry Justin Elam
ISBN: 0472107933 9780472107933 0472087681 9780472087686
OCLC系統控制編碼: 35688174
描述: xi, 187 pages : illustrations ; 24 cm.
内容: An initiation into the rituals of social protest theater: the cultural politics of El Teatro Campesino and the Black Revolutionary Theater --
Synergy --
the social environment as an active agent: Black Ice and Las Dos Caros del Patroncito --
Generating social changes and cultural affirmation: content and form in the plays of El Teatro and the BRT --
Rehearsing the revolution onstage: the social performance text and the performance space --
Performers and spectators: spiritual communion and subversive celebratin --
The rituals of social protest theater: reconsiderations and conclusions.
叢書名: Theater--theory/text/performance.
責任: Harry J. Elam, Jr.
更多資訊:

摘要:

The performances of Luis Valdez's El Teatro Campesino, the farmworkers' theater, and Amiri Baraka's Black Revolutionary Theater (BRT) during the '60s and '70s offer preeminent examples of social protest theater during a momentous and tumultuous historical juncture.

In Taking It to the Streets, Harry Elam compares the performance methodologies, theories, and practices of the two groups, highlighting their cross-cultural commonalities and providing insights into the complex genre of social protest performance and its interchange with its audience. He examines the ways in which ritual can be seen to operate within the productions of El Teatro and the BRT, uniting audience and performers in subversive, celebratory protest by transforming spectators into active participants within the theater walls - and into revolutionary activists outside.

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