Background
Carlson, Marvin Albert was born on September 15, 1935 in Wichita, Kansas, United States. Son of Roy Edward and Gladys (Nelson) Carlson.
( Throughout theatrical history, almost every element in ...)
Throughout theatrical history, almost every element in stage production has been recycled. Indeed any regular theatergoer is familiar with the experience of a performance that conjures the ghosts of previous productions. The Haunted Stage explores this theatrical déjà vu, and examines how it stimulates the spectator's memory. Relating the dynamics of reception to the interaction between theater and memory, The Haunted Stage uncovers the ways in which the memory of the spectator informs the process of theatrical reception. Marvin Carlson is Sidney E. Cohn Distinguished Professor of Theatre and Comparative Literature at the City University of New York.
http://www.amazon.com/gp/product/0472112422/?tag=2022091-20
(Traces the history of Shakespeare in Italy until the midd...)
Traces the history of Shakespeare in Italy until the middle of the nineteenth century and then focuses on Shakespearian interpretations of the three most famous Italian actors of the century.
http://www.amazon.com/gp/product/0918016762/?tag=2022091-20
("A lucid, well-organized survey of the almost infinite va...)
"A lucid, well-organized survey of the almost infinite variety of production spaces of western theatre. . . . Carlson's survey must be admired for its wealth of carefully researched and elegantly articulated information concerning the relation of urban planning, architecture, and interior and exterior theatre embellishment to the social, political, economic and occasionally even aesthetic purposes of those responsible for these 'signifiers.'"―Theatre Journal In this generously illustrated volume, Marvin Carlson uses models from architectural and urban semiotics to show how a theatre building and its location within a city reflect society's attitudes and concerns.
http://www.amazon.com/gp/product/0801480949/?tag=2022091-20
( Born in the final years of the seventeenth century, and...)
Born in the final years of the seventeenth century, and dying a decade before the beginning of the French Revolution, Voltaire was a quintessential figure of the eighteenth century, so much so that this era is sometimes called the Age of Voltaire. At a time when French culture dominated Europe, Voltaire dominated French culture. His influence was broad and powerful, and he made major contributions to almost every sphere of intellectual activity, including the sciences, trade and commerce, politics, and especially the arts. Despite the astonishing range of his literary activities, the theatre occupied a central position in his life from the beginning of his career to its close. His first and last literary triumphs were plays, the first written when he was only 17, the last completed when he was 84. He created a total of 56, and there was rarely a time in his life when he was not working on a theatrical script. At the end of his career, his works were produced more frequently on the French stage than those of any other serious dramatist and served as models for aspiring young playwrights throughout Europe. Written by a leading authority on French theatre and culture in the eighteenth century, this book traces the theatrical career of Voltaire from his college days through his final works. The most influential dramatist of the period, he successfully wrote in a number of genres, including tragedy, comedy, opera, comic opera, and court spectacle. His theatrical biography involves all aspects of acting and staging in amateur and society theatre as well as on major professional stages and performances at court. His extended visits to England and Germany are covered in chapters that also provide an introduction to the theatre in those countries, and his international interests and correspondence provide insights into the eighteenth century theatre in places such as Italy, Russia, and Denmark. Due to his literally life-long concern with the theatre, his dominance in this art, and his reputation and involvement with the theatre outside France, Voltaire's theatrical biography is also in large measure a chronicle of the European stage of the eighteenth century.
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( In almost every area of production, German theatre of t...)
In almost every area of production, German theatre of the past forty years has achieved a level of distinction unique in the international community. This flourishing theatrical culture has encouraged a large number of outstanding actors, directors, and designers as well as video and film artists. The dominant figure throughout these years, however, has remained the director. In this stimulating and informative book, noted theatre historian Marvin Carlson presents an in-depth study of the artistic careers, working methods, and most important productions of ten of the leading directors of this great period of German staging. Beginning with the leaders of the new generation that emerged in the turbulent late 1960s—Peter Stein, Peter Zadek, and Claus Peymann, all still major figures today—Carlson continues with the generation that appeared in the 1980s, particularly after reunification—Frank Castorf, Anna Viebrock, Andrea Breth, and Christoph Marthaler—and concludes with the leading directors to emerge after the turn of the century, Stefan Pucher, Thomas Ostermeier, and Michael Thalheimer. He also provides information not readily available elsewhere in English on many of the leading actors and dramatists as well as the designers whose work, much of it for productions of these directors, has made this last half century a golden age of German scenic design. During the late twentieth century, no country produced so many major theatre directors or placed them so high in national cultural esteem as Germany. Drawing on his years of regular visits to the Theatertreffen in Berlin and other German productions, Carlson will captivate students of theatre and modern German history and culture with his provocative, well-illustrated study of the most productive and innovative theatre tradition in Europe.
http://www.amazon.com/gp/product/1587298147/?tag=2022091-20
(Theatre Semioticians have to date concerned themselves pr...)
Theatre Semioticians have to date concerned themselves primarily with the semiotics of the literary dramatic text, the semiotics of the physical enactment of this text, or the relationship between the two. Theatre Semiotics offers a broader, differently oriented analysis, balancing consideration of the ways theatrical signs are produced with the ways they are received and creatively interpreted by a public. The Theatre experience is here regarded not simply as the physical realization of a written text on a stage but as a complex social event whose semiotics involves not only play and performance but the entire experience of attending the theatre...
http://www.amazon.com/gp/product/0253313155/?tag=2022091-20
( "This is an extremely intelligent, interesting, and wel...)
"This is an extremely intelligent, interesting, and well written book." —Murder Is Academic "... compelling analysis of the comedy thriller... " —Theatre Studies "... almost as much fun to read as is seeing the actual plays discussed... " —Journal of Popular Culture The phenomenal success of such plays as Deathtrap and Sleuth heralded the advent of a new form of detective play—the comedy thriller. Carlson takes the wraps off the comedy thriller and reveals its postmodern effects. He looks at all the elements of the thriller—openings, settings, characters, plot lines, the role of the audience, and endings—and shows how they work to overturn the conventions of realism in detective drama.
http://www.amazon.com/gp/product/0253208262/?tag=2022091-20
( Throughout theatrical history, almost every element in ...)
Throughout theatrical history, almost every element in stage production has been recycled. Indeed any regular theatergoer is familiar with the experience of a performance that conjures the ghosts of previous productions. The Haunted Stage explores this theatrical déjà vu, and examines how it stimulates the spectator's memory. Relating the dynamics of reception to the interaction between theater and memory, The Haunted Stage uncovers the ways in which the memory of the spectator informs the process of theatrical reception. Marvin Carlson is Sidney E. Cohn Distinguished Professor of Theatre and Comparative Literature at the City University of New York.
http://www.amazon.com/gp/product/0472089374/?tag=2022091-20
( Beginning with Aristotle and the Greeks and ending with...)
Beginning with Aristotle and the Greeks and ending with semiotics and post-structuralism, Theories of the Theatre is the first comprehensive survey of Western dramatic theory. In this expanded edition the author has updated the book and added a new concluding chapter that focuses on theoretical developments since 1980, emphasizing the impact of feminist theory.
http://www.amazon.com/gp/product/0801481546/?tag=2022091-20
Carlson, Marvin Albert was born on September 15, 1935 in Wichita, Kansas, United States. Son of Roy Edward and Gladys (Nelson) Carlson.
Bachelor of Science, University Kansas, 1957. Master of Arts, University Kansas, 1959. Doctor of Philosophy, Cornell University, 1961.
Doctorate (honorary), University Athens, 2005.
Instructor speech and drama, Cornell Univercity, Ithaca, New York, 1961-1962; assistant professor, Cornell Univercity, Ithaca, New York, 1962-1966; associate professor theatre arts, Cornell Univercity, Ithaca, New York, 1966-1973; professor, Cornell Univercity, Ithaca, New York, 1973-1979; department chairman, Cornell Univercity, Ithaca, New York, 1966-1968, 73-78; director, Cornell Univercity (University Theatre), 1963-1964, 65-66; professor theatre and drama, Indiana U., Bloomington, 1979-1986; professor comparative literature, Indiana U., Bloomington, 1984-1986; distinguished professor, Indiana U., Bloomington, since 1986; Executive officer Doctor of Philosophy program in theatre, Graduate Center CUNY, 1986-1995; Sidney E. Cohn chair in theatre, CUNY, since 1988. Walker-Ames lecturer U. Washington, 1994.
( Born in the final years of the seventeenth century, and...)
(Theatre Semioticians have to date concerned themselves pr...)
(Traces the history of Shakespeare in Italy until the midd...)
( Beginning with Aristotle and the Greeks and ending with...)
( In almost every area of production, German theatre of t...)
("A lucid, well-organized survey of the almost infinite va...)
( Throughout theatrical history, almost every element in ...)
( Throughout theatrical history, almost every element in ...)
( "This is an extremely intelligent, interesting, and wel...)
(Will be shipped from US. Used books may not include compa...)
(Book by Carlson, Marvin)
(New edition)
(Reprint)
Member American Society Theatre Research (Outstanding Achievement award 2000), International Association Theatre Critics, American Theatre Higher Education (Career Achievement award, 1995), International Federation Theatre Research, National Theatre Conference.
Married Patricia Alene McElroy, August 20, 1960. Children– Geoffrey, Richard.