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- W4380880719 abstract "The theatre season of the year I arrived in Canada was marked by The Kiss of the Spider Woman. Later, while watching it receive all the Tonys that it did, I noted, in front of a fellow actor, how unimaginable it would be for, say, Peter Brook, Eugenio Barba and Heiner Muller – in short, the established theatre people in Europe – to rejoice in a standing ovation to a piece that through “sizzling” song and dance “celebrates” the tragedy of a gay man and a revolutionary in a Latin American prison. And how this still remains the most important distinction in the “culture of theatre” between the two continents, in terms of both ethics and aesthetics, as obvious and banal as the comparison may seem. I was promptly instructed then that, yes, there is “them” – commercial theatre, and there is “us” – fringe theatre, serious theatre to be exact, and although both may constitute the theatre culture at large, the distinction is quite clear, here in North America, too." @default.
- W4380880719 created "2023-06-17" @default.
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- W4380880719 date "1995-03-01" @default.
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- W4380880719 title "Self-imposed Marginality" @default.
- W4380880719 doi "https://doi.org/10.3138/ctr.82.008" @default.
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