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Locating the Impolitical in American Theatre: Albee's Who's Afraid of Virginia Woolf? and Schechner's Dionysus in 69

Research output: Journal contributions › Journal articles › Research › peer-review

Standard

Locating the Impolitical in American Theatre: Albee's Who's Afraid of Virginia Woolf? and Schechner's Dionysus in 69. / Pinder, John Yves.
In: New Theatre Quarterly, Vol. 38, No. 2, 01.05.2022, p. 172-185.

Research output: Journal contributions › Journal articles › Research › peer-review

Harvard

Pinder, JY 2022, 'Locating the Impolitical in American Theatre: Albee's Who's Afraid of Virginia Woolf? and Schechner's Dionysus in 69', New Theatre Quarterly, vol. 38, no. 2, pp. 172-185. https://doi.org/10.1017/S0266464X22000069

APA

Pinder, J. Y. (2022). Locating the Impolitical in American Theatre: Albee's Who's Afraid of Virginia Woolf? and Schechner's Dionysus in 69. New Theatre Quarterly, 38(2), 172-185. https://doi.org/10.1017/S0266464X22000069

Vancouver

Pinder JY. Locating the Impolitical in American Theatre: Albee's Who's Afraid of Virginia Woolf? and Schechner's Dionysus in 69. New Theatre Quarterly. 2022 May 1;38(2):172-185. doi: 10.1017/S0266464X22000069

Bibtex

@article{54dc02363cd148b593679916c05f6685,
title = "Locating the Impolitical in American Theatre: Albee's Who's Afraid of Virginia Woolf? and Schechner's Dionysus in 69",
abstract = "This article examines the meaning of the {\textquoteleft}impolitical{\textquoteright} regarding cases of impolitical theatre and associated critical discourse, with reference to Rodolfo Usigli and Raymond Williams, among others. It is argued that {\textquoteleft}impolitical{\textquoteright} theatre represents social relations from the standpoint of the ideal of culture. The analysis starts with Richard Schechner{\textquoteright}s critique of the original Broadway production of Edward Albee{\textquoteright}s Who{\textquoteright}s Afraid of Virginia Woolf? and discusses this play, segueing into The Performance Group{\textquoteright}s Dionysus in 69. The author indicates the differences of theatre practice between the examples chosen, and shows that these theatres nevertheless participate in the same form of theatrical representation as they broach similar social questions of moment in the Unites States in the 1960s. John Yves Pinder has recently received his PhD from the University of Leeds. He is currently teaching at Leuphana University of L{\"u}neberg.",
keywords = "civilization, cultural critique, modernity, Raymond Williams, utopianism, Didactics of art education, Science of art",
author = "Pinder, {John Yves}",
note = "Publisher Copyright: {\textcopyright}",
year = "2022",
month = may,
day = "1",
doi = "10.1017/S0266464X22000069",
language = "English",
volume = "38",
pages = "172--185",
journal = "New Theatre Quarterly",
issn = "0266-464X",
publisher = "Cambridge University Press",
number = "2",

}

RIS

TY - JOUR

T1 - Locating the Impolitical in American Theatre

T2 - Albee's Who's Afraid of Virginia Woolf? and Schechner's Dionysus in 69

AU - Pinder, John Yves

N1 - Publisher Copyright: ©

PY - 2022/5/1

Y1 - 2022/5/1

N2 - This article examines the meaning of the ‘impolitical’ regarding cases of impolitical theatre and associated critical discourse, with reference to Rodolfo Usigli and Raymond Williams, among others. It is argued that ‘impolitical’ theatre represents social relations from the standpoint of the ideal of culture. The analysis starts with Richard Schechner’s critique of the original Broadway production of Edward Albee’s Who’s Afraid of Virginia Woolf? and discusses this play, segueing into The Performance Group’s Dionysus in 69. The author indicates the differences of theatre practice between the examples chosen, and shows that these theatres nevertheless participate in the same form of theatrical representation as they broach similar social questions of moment in the Unites States in the 1960s. John Yves Pinder has recently received his PhD from the University of Leeds. He is currently teaching at Leuphana University of Lüneberg.

AB - This article examines the meaning of the ‘impolitical’ regarding cases of impolitical theatre and associated critical discourse, with reference to Rodolfo Usigli and Raymond Williams, among others. It is argued that ‘impolitical’ theatre represents social relations from the standpoint of the ideal of culture. The analysis starts with Richard Schechner’s critique of the original Broadway production of Edward Albee’s Who’s Afraid of Virginia Woolf? and discusses this play, segueing into The Performance Group’s Dionysus in 69. The author indicates the differences of theatre practice between the examples chosen, and shows that these theatres nevertheless participate in the same form of theatrical representation as they broach similar social questions of moment in the Unites States in the 1960s. John Yves Pinder has recently received his PhD from the University of Leeds. He is currently teaching at Leuphana University of Lüneberg.

KW - civilization

KW - cultural critique

KW - modernity

KW - Raymond Williams

KW - utopianism

KW - Didactics of art education

KW - Science of art

UR - http://www.scopus.com/inward/record.url?scp=85129238342&partnerID=8YFLogxK

U2 - 10.1017/S0266464X22000069

DO - 10.1017/S0266464X22000069

M3 - Journal articles

VL - 38

SP - 172

EP - 185

JO - New Theatre Quarterly

JF - New Theatre Quarterly

SN - 0266-464X

IS - 2

ER -

DOI