By Bruce A. Mcconachie
On hand December 2003 during this groundbreaking examine, Bruce McConachie makes use of the first metaphor of containment—what occurs once we categorize a play, a tv convey, or whatever we view as having an within, an outdoor, and a boundary among the two—as the dominant metaphor of chilly warfare theatergoing. Drawing at the cognitive psychology and linguistics of George Lakoff and Mark Johnson, he offers strange entry to the ways that spectators within the chilly struggle years projected themselves into degree figures that gave them excitement. McConachie reconstructs those cognitive strategies by means of counting on scripts, set designs, studies, memoirs, and different proof. After setting up his theoretical framework, he specializes in 3 archtypal figures of containment major in chilly struggle tradition, Empty Boys, relatives Circles, and Fragmented Heroes. McConachie makes use of a number of performs, musicals, and glossy dances from the dominant tradition of the chilly battle to debate those figures, together with The Seven yr Itch, Cat on a scorching Tin Roof; The King and I,A Raisin within the sunlight, evening trip, and The Crucible. In an epilogue, he discusses the legacy of chilly conflict theater from 1962 to 1992. unique and provocative, American Theater within the tradition of the chilly struggle illuminates the brain of the spectator within the context of chilly battle tradition; it makes use of cognitive stories and media idea to maneuver clear of semiotics and psychoanalysis, forging a brand new approach of studying theater historical past.
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Additional resources for American Theater in the Culture of the Cold War: Producing and Contesting Containment, 1947-1962 (Studies Theatre Hist & Culture)
Like the spatial relations schema of containment noted above, each of their concepts, together with its associated metaphors, constrains the kinds of meanings that can follow from it. The bodily action concept of “counterforce,” for example, entails images that involve a head-on meeting of material forces. ” 19 According to Lakoff and Johnson, these submerged schemas and their metaphorical extensions are nearly universal to human experience: “Much of a person’s conceptual system is either universal or widespread across languages and cultures.
Conscious thought is the tip of an enormous iceberg,” note Lakoff and Johnson. ) The foundational concepts and primary metaphors identiﬁed by Lakoff and Johnson provide content as well as form to human thinking. Like the spatial relations schema of containment noted above, each of their concepts, together with its associated metaphors, constrains the kinds of meanings that can follow from it. The bodily action concept of “counterforce,” for example, entails images that involve a head-on meeting of material forces.
Looking at the reality effects of new media on theatrical constructions of the real, one clue to explaining this shift may be the ubiquity of radio by the 1940s. Under pressure from print, photography, and ﬁlms, the dominant media of the 1920s and 1930s, the plays of those decades generally crafted their version of reality within the constraints of the visual culture. The successful plays of the 1950s were no less “real” for their spectators, of course, but perhaps they were responding to a notion of reality shaped in part by radiophony.