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Published 􀀁􀀂􀀂􀀁 Printed in the United States of America on acid-free paper  \n􀀃 􀀄 􀀅 􀀆 􀀇 􀀈 􀀉 􀀁 􀀊  \nThe Johns Hopkins University Press 􀀁􀀅􀀊􀀇 North Charles Street Baltimore, Maryland 􀀁􀀊􀀁􀀊􀀄-􀀈􀀉􀀆􀀉 [www.press.jhu.edu](www.press.jhu.edu)  \nLibrary of Congress Cataloging-in-Publication Data Puchner, Martin, 􀀊􀀃􀀆􀀃–  \nStage fright : modernism, anti-theatricality, and drama / Martin Puchner.  \n[p. cm](p. cm).  \nIncludes bibliographical references and index.  \n􀀅􀀌􀀁􀀊 􀀂-􀀄􀀂􀀊􀀄-􀀆􀀄􀀇􀀇-􀀆 (alk. paper)  \n􀀊 . Drama—􀀁􀀂th century—History and criticism. 􀀁 . Drama—􀀊􀀃th century—History and criticism. 􀀉 . Modernism (Literature) I. Title.  \n􀀍􀀊􀀎􀀏􀀐􀀎 .􀀍􀀏􀀑 􀀁􀀂􀀂􀀁􀀄􀀂􀀃.􀀁'􀀃􀀊􀀊􀀁'􀀂􀀃􀀂􀀈—dc􀀁􀀊  \n􀀁􀀂􀀂􀀊􀀂􀀂􀀆􀀆􀀁􀀁  \nA catalog record for this book is available from the British Library.  \nFor my mother, my brothers, and in memory of my father  \nContents  \nAcknowledgments ix  \nIntroduction 􀀊  \nI. The Invention of Theatricality  \n1. Richard Wagner: The Theatocracy of the Mime 􀀉􀀊  \nII. The Modernist Closet Drama  \n2. Stéphane Mallarmé: The Theater in the Closet 􀀇􀀃  \n3. James Joyce:  \nNovel and Drama in Ulysses 􀀄􀀊  \n4. Gertrude Stein:  \nFour Saints in Three Acts—A Closet Drama to Be Performed 􀀊􀀂􀀊  \nIII. The Diegetic Theater  \n5. William Butler Yeats:  \nPoetic Voices in Theatrical Space 􀀊􀀊􀀃  \n6. Bertolt Brecht: The Theater on a Leash 􀀊􀀉􀀃  \n7. Samuel Beckett:  \nActors in Barrels and Gestures in the Text 􀀊􀀇􀀅  \nEpilogue 􀀊􀀅􀀉  \nNotes 􀀊􀀅􀀃  \nBibliography 􀀁􀀊􀀉  \nIndex 􀀁􀀁􀀃  \nAcknowledgments  \nMy first thanks goto those who advised this project in its dissertation phase: James Engell, Barbara Johnson, and Judith Ryan. Particularly generous in helping me to turn the dissertation into a manuscript were David Damrosch, James Engell, Barbara Johnson, Martin Meisel, and Joseph Roach, as well as Alan Ackerman, Ivan Asher, Ursula Heise, Jean Howard, Noah Heringman, Klaus Mladek, Larson Powell, and Matthew Smith. And I am much indebted to Barbara Johnson and Joseph Roach for their assistance in turning the manuscript into a book.  \nI would also like to thank those colleagues who have created an intellectual community at Columbia and Barnard in which work on drama and theater can thrive: Arnold Aronson, Patricia Denison, Helene Foley, Steve Friedman, Shawn Marie Garrett, David Kastan, Denny Partridge, Julie Stone Peters, Austin Quigley, James Shapiro, Amy Tompetter, and the members of the theater colloquium. I am also indebted to all my students, in particular those who helped me directly with my manuscript: Jeannie Im, David Kurnick, Matt Laufer, Sun-Young Park, Matt Rebhorn, Akiko Takeuchi, and the students in my seminar on modernism and theatricality. A separate round of thanks goes to my friends Nicholas Dames, Amy King, Sascha Lehnartz, Caroline Levine, Jon McKenzie, Dan Sherer, Henry Turner, and Rebecca L. Walkowitz.  \nI would like to thank former Johns Hopkins University Press humanities editor Maura Burnett for being an ideal editor and Joanne Allen for her fabulous copyediting.  \nMy brothers, Stephan and Elias, were unwavering in their interest and support, and my mother, Annelore, was instrumental to this project in founding and directing a diegetic theater, the shadow theater Imago.  \nI don’t knowhow to thank Amanda Claybaugh for thinking and reading through this project innumerable times, commenting on its broadest theoretical conception and its smallest details. She is present in every argument and in every word of this book.","cbCaiiZK0GtQ0Erz","https://ap.wps.com/l/cbCaiiZK0GtQ0Erz","pdf",2267766,247,"English","# Introduction\n# The Invention of Theatricality\n## Richard Wagner: The Theatocracy of the Mime\n# The Modernist Closet Drama\n## Stéphane Mallarmé: The Theater in the Closet\n## James Joyce: Novel and Drama in Ulysses\n## Gertrude Stein: Four Saints in Three Acts—A Closet Drama to Be Performed\n# The Diegetic Theater\n## William Butler Yeats: Poetic Voices in Theatrical Space\n## Bertolt Brecht: The Theater on a Leash\n## Samuel Beckett: Actors in Barrels and Gestures in the Text\n# Epilogue\n# Notes\n# Bibliography\n# Index","[{\"question\":\"What central concept does the book use to connect modernism and drama?\",\"answer\":\"It centers on “theatricality,” examining how it is invented, reconfigured, or displaced across different dramatic forms and literary contexts.\"},{\"question\":\"Which authors are studied as examples of different dramatic modes?\",\"answer\":\"The book discusses Richard Wagner, Stéphane Mallarmé, James Joyce, Gertrude Stein, William Butler Yeats, Bertolt Brecht, and Samuel Beckett.\"},{\"question\":\"How is the book structured to develop its argument?\",\"answer\":\"It moves in three major parts—“The Invention of Theatricality,” “The Modernist Closet Drama,” and “The Diegetic Theater”—followed by an epilogue, notes, bibliography, and index.\"}]","Stage Fright - Modernism, Anti-Theatricality, and Drama | PDF",1789985648,380]