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Les Dilemmes de l'identité aux confins de l'Europe: Le cas roumain (review)

Les Dilemmes de l'identité aux confins de l'Europe: Le cas roumain (review) and community scenes. He insists on the vitality of American theater, provided the distinction between low- and highbrow, and between professional and amateur practices, is overlooked: “Ce que j’ai appelé le déclin et la n fi du théâtre en Améri - que n’est pas la n fi du théâtre en soi ou de tout le théâtre. . . . Ce qui est en jeu, c’est quel théâtre et quelle sorte de culture vont survivre. . . . un théâtre de qualité peut survivre, mais il ne peut pas vivre. Il peut survivre dans les marges, les universités et les caves, mais mourir au grand jour” [By the decline and fall of theater in America I did not mean the end of theater itself or as a practice. . . . What is at stake here is what kind of theater and culture will survive. . . . quality theater can survive but cannot live. It can survive in the margins, like universities and cellars, and appear oci ffi ally dead] (217). e Th book is peppered with bracketed Anglicisms, which the author deems useful to the reader’s comprehension, though their number and relevance seem question- able. e Th publication http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The Comparatist University of North Carolina Press

Les Dilemmes de l'identité aux confins de l'Europe: Le cas roumain (review)

The Comparatist , Volume 31 – May 29, 2007

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Publisher
University of North Carolina Press
Copyright
Copyright © 2007 the Southern Comparative Literature Association.
ISSN
1559-0887

Abstract

and community scenes. He insists on the vitality of American theater, provided the distinction between low- and highbrow, and between professional and amateur practices, is overlooked: “Ce que j’ai appelé le déclin et la n fi du théâtre en Améri - que n’est pas la n fi du théâtre en soi ou de tout le théâtre. . . . Ce qui est en jeu, c’est quel théâtre et quelle sorte de culture vont survivre. . . . un théâtre de qualité peut survivre, mais il ne peut pas vivre. Il peut survivre dans les marges, les universités et les caves, mais mourir au grand jour” [By the decline and fall of theater in America I did not mean the end of theater itself or as a practice. . . . What is at stake here is what kind of theater and culture will survive. . . . quality theater can survive but cannot live. It can survive in the margins, like universities and cellars, and appear oci ffi ally dead] (217). e Th book is peppered with bracketed Anglicisms, which the author deems useful to the reader’s comprehension, though their number and relevance seem question- able. e Th publication

Journal

The ComparatistUniversity of North Carolina Press

Published: May 29, 2007

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