By Enoch Brater
Arthur Miller's America collects new writing by way of top foreign critics and students that considers the dramatic international of icon, activist, and playwright Arthur Miller's theater because it displays the altering ethical equations of his time. Written at the celebration of Miller's eighty fifth yr, the unique essays and interviews in Arthur Miller's America deal with the breadth of Miller's paintings, together with his early political writings for the campus newspaper on the college of Michigan, his well-known paintings with John Huston, Clark Gable and Marilyn Monroe on The Misfits, and his signature performs like Death of a Salesman and All My Sons.
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Additional info for Arthur Miller's America: Theater and Culture in a Time of Change (Theater: Theory-Text-Performance)
INTRODUCTION: THEATRE AS EXPERIENCE MACHINE 31 Foucault, M. (2008). The birth of biopolitics: Lectures at the Collège de France 1978– 1979 (M. ), G. ). Basingstoke, UK: Palgrave Macmillan. Freshwater, H. (2009). Theatre & audience. Basingstoke, UK: Palgrave Macmillan. Gane, N. (2014). The emergence of neoliberalism: Thinking through and beyond Michel Foucault’s lectures on biopolitics. Theory, Culture & Society, 31(3), 3–27. Gardner, L. (2007, August 8). Review of Fuerzabruta. Guardian. http://www.
Chomsky, N. (1999). Profit over people: Neoliberalism and global order. New York: Seven Stories Press. Dolan, J. (2005). Utopia in performance: Finding hope at the theatre. Ann Arbor, MI: University of Michigan Press. Fensham, R. (2009). To watch theatre: Essays on genre and corporeality. Peter Lang. Flaherty, J. (2014, Spring & Summer). Dreamers and insomniacs: Audiences in Sleep No More and The Night Circus. Comparative Drama, 48(1), 135–154. INTRODUCTION: THEATRE AS EXPERIENCE MACHINE 31 Foucault, M.
It contextualises shunt’s practice by addressing the ‘activation’ of consumers as ‘producing consumers’ in the experience economy, and considers how immersive theatre and various exponents of the experience economy, with a particular focus on the London Dungeon, share certain similarities, not least appealing to the affective engagement of subjects in experientially stimulating and holistic environments. I approach affect firstly as a hidden communicative process, or ‘text’, that provides audiences and consumers INTRODUCTION: THEATRE AS EXPERIENCE MACHINE 29 with a ‘sense’ of a cultural or material product, and secondly as a productive capacity – both as a productive source of profit in the experience economy, and as a source of aesthetic production in immersive theatre.