Disrupting the Spectacle
"Brenton's "Magnificence
Bibliographic Data
| ID | 4553448 |
|---|---|
| Authors | Donna Soto-Morettini (0000-0001-9163-3601, corresponding author) |
| Year | 1986 |
| Volume | 38 |
| Issue | 1 |
| Pages | 82 |
| Publication date | 1986-03-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Theatre Journal (JOURNAL) |
| Journal identifiers | ISSN: 0192-2882 • E-ISSN: 1086-332X |
| Publisher | JSTOR (PUBLISHER) |
| DOI | 10.2307/3207825 |
| OpenAlex | W2335431377 |
| Language | EN |
The last scene of Magnificence sets in motion a recurring exploration in Howard Brenton's work: the fragile distinction between the revolutionary and the terrorist in any attempt to get to the political real. In the play's final moments, the young radical, Jed, threatens Alice, an aging, homosexual, Tory MP, with an explosive gelignite mask which fails to ignite. With an utterly helpless glance, Jed takes in the simultaneous vision of both the bomb's fuse gone wrong the act gone wrong and the face of his enemy the system gone wrong
Aesthetics · Art · Political science · Spectacle · Visual arts · Hermeneutics and Narrative Identity · Philosophy, Ethics, and Existentialism · Poetry Analysis and Criticism
| Highly cited | No |
|---|