Memory's Dramas, Modernity's Ghosts: Thornton Wilder, Japanese Theater, and Paula Vogel's "The Long Christmas Ride Home"

[...]like the return of Uncle Peck's ghost at the end of her 1998 Pulitzer Prize-winning play How I Learned to Drive, LCRH is haunted by ghosts-of Carl, of Thornton Wilder, and of a social history that is both personal and collective. "4 Diamond's argument dovetails in interesting way...

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Bibliographic Details
Published inComparative drama Vol. 46; no. 2; pp. 209 - 235
Main Author Mansbridge, Joanna
Format Journal Article
LanguageEnglish
Published Kalamazoo Department of English, Western Michigan University 22.06.2012
Comparative Drama
Western Michigan University, Department of English
Subjects
Analysis
Bunraku
Carlson, Marvin
Criticism and interpretation
Drama
Dramatists
Gestures
Ghosts
Memory
Modernist art
Mothers
Noh theater
Playwriting
Portrayals
Puppet shows
Puppets
Theater
Vogel, Paula
Wilder, Thornton
Wilder, Thornton (1897-1975)
Canada
New York
United States > US
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Summary:[...]like the return of Uncle Peck's ghost at the end of her 1998 Pulitzer Prize-winning play How I Learned to Drive, LCRH is haunted by ghosts-of Carl, of Thornton Wilder, and of a social history that is both personal and collective. "4 Diamond's argument dovetails in interesting ways with Marvin Carlson's theory of ghosting, which he defines as the uncanny effect created by theater's "recycling of specific material," which generates "repetition, memory, and ghosting" as effects that "are deeply involved in the nature of the theatrical experience itself " and yet that also manifest "in a very different manner in different periods and cultures.
ISSN:0010-4078
1936-1637