03725cam a2200469 i 450000100090000000300050000900500170001400800410003101000170007202000310008903500130012004000340013304200080016704300210017505000240019608200310022024501010025126400480035230000270040033600260042733700280045333800270048149000620050850400510057050508300062152010420145154600130249365000400250665000250254665000460257165000570261765000560267465000510273065000510278165000320283270000390286477601280290390600450303194200410307695201210311799900170323822458707CSPC20261008165558.0261008s2022    enk      b    001 0 eng    a  2021058079  a9781350215894q(paperback)  a22458707  aDLCbengerdacDLCdDLCdCSPC  apcc  an-us---ae-uk---00aPN2049b.T4375 202400223/eng/20220309a792bT34000aTheater in a post-truth world :btexts, politics, and performance /cedited by William C. Boles. 1aLondon ;aNew York :bMethuen Drama,c2024.  ax, 224 pages ;c23 cm.  atextbtxt2rdacontent  aunmediatedbn2rdamedia  avolumebnc2rdacarrier0 aMethuen Drama agitations: text, politics and performances  aIncludes bibliographical references and index.2 aPart 1. Text -- Post-truth but not post-race: the repeating realities of Anna Deavere Smith's Twilight: Los Angeles, 1992 -- Knowing not what it "seems": re-viewing Caryl Churchill's post-truth world in Glass, Kill, Bluebeard's Friends, and Imp -- Part 2. Politics -- The alternative realities of David Hwang's soft power and Anne Washburn's shipwreck -- Negotiating the fifth wall -- When the play is not the thing: the Mueller report and the limits of documentary drama -- Part 3. Performance -- Australian biographical theater on the post-truth stage -- Performing reality: Tina Satter's verbatim staging of an FBI transcript in Is This A Room -- Seductive frames: Digital aesthetics in Kip William's staging of Bertolt Brecht's The Resistible Rise of Arturo Ui (2018) -- Satanic panic: performance in the new culture war.  a"This is the first book to examine how the concept and disagreements around "post-truth" have been explored in the world of theater and performance. This ranges from the plays of Caryl Churchill, Anne Washburn, and David Henry Hwang, to the inherent theatricality of press conferences, interviews and protests that embrace the confusion created by "post-truth" to muddy issues and deflect blame, to theatrical performance, where the nature of truth is challenged through staged visuals which run counter to what the audience hears, provoking a debate about where the truth actually lies. With contributions by scholars from around the world, Theater in a Post-Truth World considers a wide array of examples from American and British drama and politics, Australian theater, and the work of performance artist Marina Abramovic. Together these provide a glimpse into how the theater in its many forms provides a venue to raise critical awareness and encourage critical thinking about the ubiquity of "post-truth.""--cProvided by publisher.  aEnglish. 0aTheaterxMoral and ethical aspects. 0aTheater and society. 0aTruthfulness and falsehood in literature. 0aAmerican dramay21st centuryxHistory and criticism. 0aEnglish dramay21st centuryxHistory and criticism. 0aTheaterzUnited StatesxHistoryy21st century. 0aTheaterzGreat BritainxHistoryy21st century. 0aTruthfulness and falsehood.1 aBoles, William C.,d1966-eeditor.08iOnline version:tTheater in a post-truth worldb1.dLondon ; New York : Methuen Drama 2022z9781350215863w(DLC) 2021058080  a7bcbccorignewd1eecipf20gy-gencatlg  2ddccBKe23h792iT340kCIRm2024n0  00102ddc4070aCSPCbCSPCcCIRd2026-10-08l0oCIR 792 T340 2024p032626r2026-10-08 15:25:19t1-1w2026-10-08yBK  c33654d33654