L'image surréaliste dans l'œuvre de Jean Cocteau Le Corsu Soraya 2005 Off the Beaten Track Heidegger Martin 57 2002 Walter Benjamin and History Ferris David M 2005īodied Spaces: Phenomenology and Performance in Contemporary Drama Garner Stanton B 1994 The Esthetic of Jean Cocteau Crowson Lydia 1978 Professional Secrets: An Autobiography of Jean Cocteau. The Eiffel Tower Wedding Party Cocteau Jean 153 The Eiffel Tower Wedding Party.New York: New Directions151-78 The Infernal Machine and Other Plays Laughter: An Essay on the Meaning of the Comic Bergson Henri 1999Īn Impersonation of Angels: A Biography of Jean Cocteau Brown Frederick 1968ĭialectics of Seeing: Walter Benjamin and the Arcades Project Buck-Morss Susan 1999Ĭocteau's World: An Anthology of Writings Cocteau Jean 301 1972
Liveness: Performance in a Mediatized Culture Auslander Philip 1999 한글번역Īgainst Theatre: Creative Destructions of the Modernist Stage Ackerman A10.1057/9780230289086ġ0.1057/9780230289086_2 Aronson, ArnoldAvant-Garde Scenography and the Frames of the Theatre. In Walter Benjamin's terms, one could argue that the play is a significant moment in the ongoing decay and transformation of theatricality's aura. What Cocteau is asking us to witness, then, in his exploration of our relationship to media, is a creative process inherent in the destruction of theatricality.
His use of machines uncannily shows us that we exalt the representation of the event over its emotional content. Eschewing banal hypotheses like “machines are dehumanizing,” Cocteau suggests a more complex desire: we want machines to exert control over the moment of the live event.
In its anti-theatricality, the play shifts away from reproduction with a greater fidelity to “life,” or the theatrical representation of life, toward the assumptions that inform the desire for photographic reproduction. Jean Cocteau's The Eiffel Tower Wedding Party is marked by a fascination with the fractious relationship both between technology and theatricality and between human desire and mechanization.
0 kommentar(er)
