000			03100cam a2200409Mi 4500
001			on1247203476
003			OCoLC
005			20240726105150.0
008			210423t20212021stka ob 001 0 eng d
040			_aYDX _beng _erda _cYDX _dYDX _dJSTOR _dOCLCO _dOCL _dCNO _dUKOUP _dSFB _dNT
020			_a9781474495998 _q((electronic)l(electronic)ctronic)
020			_a9781474470070 _q((electronic)l(electronic)ctronic)
043			_ae------
050	0	4	_aGT1748 _b.M634 2021
049			_aMAIN
100	1		_aPopenhagen, Ron J., _d1953- _e1
245	1	0	_aModernist disguise _bmasquerade in modern performance and visual culture / _cRon J. Popenhagen.
300			_a1 online resource (xii, 253 pages) : _billustrations (black and white).
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_adata file _2rda
490	1		_aEdinburgh critical studies in modernism, drama and performance
504			_a2
505	0	0	_aImpressions of the covered body -- _tFacing change and changing masks -- _tReforming and uniforming the body -- _tFeigned and distorted bodyscapes -- _tActors' effigies and photo-portraits -- _tFractured and effaced façades -- _tOther places.
520	8		_aAnalyses the expansion of head and body masking from nineteenth-century Paris to its international maturity in contemporary culture. Looks at the presence and development of masquerade in the modernist era - via performance history - with parallel references to theatricality and performativity in visual arts and visual culture. Comments upon masquerade's foundation in popular performance throughout the 19th and 20th centuries, frequently alluding to significant images from the history of photography. Theorises masquerade within the context of European theatre and drama scholarship, as well as British and European conservatory arts and performance training. Employs critical thinking influenced by phenomenological and semiotic analyses of performance. This book highlights that masquerade can be regarded as a distinct genre of performance activity that employs elements of the carnivalesque, circus, dance, gestural theatre and theatre of objects. Popenhagen traces artistic disguising from fin de siecle Pierrots in Paris, Marseille and Vienna to early twentieth-century masquerading in Moscow and Zurich. He explores identity play and display through the complementary lenses of image studies, cultural history and performance theory.
530			_a2 _ub
650		0	_aMasquerades _zEurope.
650		0	_aPerformance art _zEurope.
650		0	_aArt and society _zEurope _xHistory _y19th century.
650		0	_aArt and society _zEurope _xHistory _y20th century.
655		1	_aElectronic Books.
856	4	0	_uhttps://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=2709227&site=eds-live&custid=s3260518 _zClick to access digital title | log in using your CIU ID number and my.ciu.edu password
942			_cOB _D _eEB _hGT. _m2021 _QOL _R _x _8NFIC _2LOC
994			_a92 _bNT
999			_c91188 _d91188
902			_a1 _bCynthia Snell _c1 _dCynthia Snell