Thornton Wilder's The Skin of our Teeth (Record no. 3159)

MARC details
000 -LEADER
fixed length control field 01920 a2200337 4500
001 - CONTROL NUMBER
control field 1138185620
005 - DATE AND TIME OF LATEST TRANSACTION
control field 20250317100418.0
008 - FIXED-LENGTH DATA ELEMENTS--GENERAL INFORMATION
fixed length control field 250312042016GB eng
020 ## - INTERNATIONAL STANDARD BOOK NUMBER
International Standard Book Number 9781138185623
037 ## - SOURCE OF ACQUISITION
Source of stock number/acquisition Taylor & Francis
Terms of availability GBP 12.99
Form of issue BB
040 ## - CATALOGING SOURCE
Original cataloging agency 01
041 ## - LANGUAGE CODE
Language code of text/sound track or separate title eng
072 7# - SUBJECT CATEGORY CODE
Subject category code ATD
Source thema
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Subject category code AFKP
Source thema
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Subject category code DSG
Source thema
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Subject category code AN
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Subject category code AFKP
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Subject category code DSG
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Subject category code DRA001000
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Subject category code PER011030
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Subject category code PER011020
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Subject category code PER000000
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Subject category code PER011000
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Subject category code 812.52
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100 1# - MAIN ENTRY--PERSONAL NAME
Personal name Kyle Gillette
245 10 - TITLE STATEMENT
Title Thornton Wilder's The Skin of our Teeth
250 ## - EDITION STATEMENT
Edition statement 1
260 ## - PUBLICATION, DISTRIBUTION, ETC.
Place of publication, distribution, etc. Oxford
Name of publisher, distributor, etc. Routledge
Date of publication, distribution, etc. 20160915
300 ## - PHYSICAL DESCRIPTION
Extent 88 p
520 ## - SUMMARY, ETC.
Expansion of summary note "Ladies and gentlemen, I’m not going to play this particular scene tonight." - Sabina Thornton Wilder’s The Skin of Our Teeth (1942) telescopes an audacious stretch of western history and mythology into a family drama, showing how the course of human events operates like theatre itself: constantly mutable, vanishing and beginning again. Kyle Gillette explores Wilder’s extraordinary play in three parts. Part I unpacks the play’s singular yet deeply interconnected place in theatre history, comparing its metatheatrics to those of Stein, Pirandello and Brecht, and finding its anticipation of American fantasias in the works of Vogel and Kushner. Part II turns to the play’s many historic and mythic sources, and examines its concentration of western progress and power into the model of a white, American upper-middle-class nuclear family. Part III takes a longer view, tangling with the play’s philosophical stakes. Gillette magnifies the play’s ideas and connections, teasing out historical, theoretical and philosophical questions on behalf of readers, scholars and audience members alike.

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