ABOUT THIS BOOK

A study of the impact of film and mass culture on drama after World War II.

In Theater after Film, Martin Harries argues that after 1945, as cinema became omnipresent in popular culture, theater had to respond to cinema’s hegemony. Theater couldn’t break that hegemony, but it could provide a zone of contestation. Theater made film’s domination of the cultural field visible through hyperbole, refusal, and other strategies, thereby unsettling its power. Postwar theatrical experiment, Harries shows, often channeled and represented film’s mass cultural force, while knowing that it could never possess that force. Throughout the book, Harries brings critical theory into contact with theories of performance. Although Theater after Film treats the theatrical work of many figures, its central focus falls on Tennessee Williams, Samuel Beckett, and Adrienne Kennedy. Discussions of these dramatists consider their ways of addressing spectators, the politics of race between film and theater, and the place of the theatrical apparatus. Readings of these central figures in twentieth-century theater exemplify the book’s historical engagement with the media surround that drama confronted. This confrontation, Harries shows, was central to the development of some of the most continually compelling postwar drama.

AUTHOR BIOGRAPHY

Martin Harries is professor of comparative literature at the University of California, Irvine. He is the author of Forgetting Lot’s Wife: On Destructive Spectatorship and Scare Quotes from Shakespeare: Marx, Keynes, and the Language of Reenchantment.

REVIEWS

“In Theater after Film, Martin Harries argues that theater is important because of its apparent weakness, not its strength. Harries sets his book in the decades after World War II, when Hollywood was the culture industry and before it lost its dominance to television and digital content. In those years, film’s ‘richness . . . as a medium for realist narrative’ and the particular ways it solicited an audience’s attention made it a powerful means of conveying ideology, shaping perception, and forming subjects. In Harries’s dialectical analysis, it was the sheer power of film that underscored theater’s poverty, and thus theater’s own revelatory power.”

— Minou Arjomand, Georgia Review

“[Harries's book] is a theoretically sophisticated, wide-ranging analysis. . . . Unfailingly intelligent and beautifully written, Theater after Film is a powerful set of reflections on this dynamic cultural relationship.”

— Stanton B. Garner, Jr., Modern Drama

"[This book] is about how several post-WWII playwrights reacted to the emerging dominance of cinema, using their plays to confront film’s media mastery and resist the threat of globalist mass culture. The argument is as much informed by theorists—Adorno, Brecht, Benjamin, Artaud, Barthes, etc.—as by the works of the playwrights Harries uses as exemplars: 60 percent of the book is devoted to discussions of the plays of Tennessee Williams, Samuel Beckett, and Adrienne Kennedy."

— Library Journal

"Each essay is scrupulously researched and annotated in footnotes. It is theoretical writing at its finest, causing the reader to critically examine previous conclusions and ideologies….upper-level theater majors and graduate students should be exploring these essays and citing them in research projects."

— CHOICE

“An intellectually thrilling account of postwar theater’s aesthetic enmeshment in—and contestation of—mass media. Harries’s writing is unparalleled in its combination of rigorous historicism, searching theoretical inquiry, and brilliant close reading. In a series of illuminating essays, Harries shows how the very particularities that have consigned theater artists to distinct canons actually form a ‘dialectical sequence’ of profound investigations into modern spectatorship. Anyone who cares about what stage plays can be in a society dominated by other media ought to read Theater after Film.”

— Julia Jarcho, Brown University

“Theater after Film is that rare thing: a book that achieves a decisive theoretical intervention by means of the most scrupulous critical attention to its chosen historical and aesthetic materials. Harries’s writing is elegant and precise, wrought with extraordinary care from extensive study and deep thought. His work offers readers a richly historicized understanding of theatrical responses to the media culture inaugurated by film.”

— Nicholas Ridout, Queen Mary University of London

“There is nothing in studies of postwar theater to match the theoretical elegance of this book and the lucidity of its critical address. Harries’s readings, like his reflections on his methodology, are as scrupulous as they are generous. Each essay offers both intricate analyses of particular works and revelatory conclusions about theater’s potential as a site of aesthetic and ideological contestation. This book is transformative. You read it, and the sky lights up.”

— Shonni Enelow, Fordham University

TABLE OF CONTENTS

Offending the Audience

Streetcar

Film

Catastrophe

Endgame

A Movie Star

Diary of Lights

REQUEST ACCESSIBLE FILE

If you are a student who cannot use this book in printed form, BiblioVault may be able to supply you with an electronic file for alternative access.

Please have the accessibility coordinator at your school fill out this form.

It can take 2-3 weeks for requests to be filled.