دانلود کتاب Stage of Emergency: Theater and Public Performance under the Greek Military Dictatorship of 1967-1974 (Classical Presences)

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Cover\nStage of Emergency: Theater and Public Performance under the Greek Military Dictatorship of 1967–1974\nCopyright\nDedication\nAcknowledgments\nContents\nList of Figures\nA Note on Translations and Transliterations\nIntroduction\n HOW TO STAGE A COUP: PROMETHEUS UNBOUND\n STATE OF EXCEPTION, STAGE OF EMERGENCY: “THE GREEKS REHEARSE THE UPRISING”\n A Theoretical Positioning\n Agamben’s Theory: Possibilities, Challenges, “Better Scripts”\n THE SCOPE OF THIS BOOK\n SOURCES AND RESEARCH CHALLENGES\n1. The Theater-Historical Context and the Turn to New Greek Theater\n FOREIGN AND DOMESTIC GREEK PLAYS, ALLIED AGAINST A STATE OF TYRANNY\n THE TURN TO THE NEW GREEK THEATER: THEATER’S PARALÓGOS EMBOLDENED BY THE THEATRO TOU PARALOGOU\n YOUTH, DISSIDENCE, AND THE STAGE OF EMERGENCY: BREAKING DOWN FENCES AND DEFENSES\n NEW THEATER LAUNCHES AND COUNTERCULTURAL SPACES: EXPLORING NEW SPACES FOR A RADICAL CRITIQUE\n STAGE TROUPES AND THE TROOPS OF THE STAGE: PERFORMING DEMOCRACY IN A STATE OF TYRANNY\n2. “These bonds of freedom hurt: ”The Logos and Silence of Censorshipand Self-Censorship\n HELLAS HELLENON LOGOKRIMENON: GREECE OF THE CENSORED GREEKS\n SILENCE AGAINST CENSORSHIP: THE BOOK INDEX AND SELF-IMPOSED SILENCE\n PREVENTIVE CENSORSHIP LEGISLATION\n HORTATORY CENSORSHIP, SELF-CENSORSHIP, AND CENSORSHIP UNLEASHED\n PROMETHEUS BOUND AGAIN\n PROMETHEUS UNBOUND, CLOSING ACT\n SEFERIS’S FIRST AND LAST INTERVENTION\n PLOTS OF TRANSGRESSION IN PLAYS OF THE NEW GREEK THEATER\n Textual and Ideological Cleansing\n Who’s Afraid of Marietta Rialde?\n Making Terror and Torment Visible: The Greek Performative Turn\n A MODERN GREEK CASE STUDY: THE TROMBONE OF MARIOS PONTIKAS\n Production Data and Censorship Restrictions\n Art as Alibi: One Man’s Music Is Another Man’s Misery\n RESTRAINING THE REVUE: MADE TO THE MEASURE OF THE MOMENT\n CONCLUSION: MONOPOLIZING NATIONAL CULTURE: CONSTRUCTING BARRIERS AND TABOOS\n3. Monopolizing National History: Performing Tyranny and Constructing Myths\n DISPLAYS OF ORDER: CONSTRUCTING TYRANNICAL MEANING\n DISPLAYS OF DISORDER: DECONSTRUCTING MEANING\n SPECTACLE IS POWER\n What Happens in the Arena? Sporting Uniforms and Uniformity\n Teaching Patriotic Self-sacrifice for the “Revolution of April 21, 1967”\n Reflecting Back on Greek History in Rapid Motion\n OUR GRAND CIRCUS: GREEK HISTORY IN COMMOTION\n “[M]oments from our past, mobilized to help us through a difficult moment of the present”\n Remembering and Dismembering a Plot: Of Dreams and Deprivations, of Losers and . . . Losers\n The Polytechnic, November 1973: Showdown and Regrouping\n CONCLUSION: HISTORY AS CREED, HISTORY AS ACTIVISM\n POSTSCRIPT\n4. Individual Responsibility before Tyranny as the Capitalist Enemy\n THE NANNIES OF GIORGOS SKOURTES: MONEY, MATERIALISM, TRAMPS, AND THE CAPITALIST BOSS\n STRATES KARRAS: THE TRADECRAFT OF CAPITALIST OPPRESSION\n THE AESTHETICS OF MISFITS AND FAILURES IN THE LATE CAPITALIST SYSTEM\n THE STORY OF ALI RETZO: BRECHTIAN THEATER IN GREECE UNDER THE MILITARY DICTATORSHIP\n Theater as Process, Acculturating Brecht as Process\n Brecht in Greece under the Junta\n The Free Theater: Theater as Collaborative Action\n THE STORY OF THE STORY\n “THE WORLD IS BURNING AND YOU ARE COMBING YOUR HAIR”: . . . KAI SY CHTENIZESAI\n CONCLUSION: CHAINS AND CHOICES\nConclusion\nReferences\nIndex