Thematische Bibliographien / Theatre (philosophy)

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Auswahl der wissenschaftlichen Literatur zum Thema „Theatre (philosophy)“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 20. Februar 2023

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Zeitschriftenartikel zum Thema "Theatre (philosophy)"

PUCHNER, MARTIN. "The Theatre of Alain Badiou." Theatre Research International 34, no. 3 (October 2009): 256–66. http://dx.doi.org/10.1017/s0307883309990058.

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This article examines the relation between philosophy and theatre in the work of French philosopher Alain Badiou. First, it focuses on Badiou's central categories, such as event and character, that resonate with the theatre. Second, Badiou's own engagement with the theatre, the place theatre occupies in his philosophical world, is identified. Finally, the article argues that Badiou's thought must be understood as a return to Plato. Plato here is understood not as an enemy of theatre, but as a philosopher who invented philosophy through a constant, if often critical, engagement with the theatre

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Wu, Yi. "Philosophy as Memory Theatre." Politeia 1, no. 3 (2019): 28–44. http://dx.doi.org/10.5840/politeia20191318.

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Contrary to its self-proclamation, philosophy started not with wonder, but with time thrown out of joint. It started when the past has become a problem. Such was the historical situation facing Athens when Plato composed his Socratic dialogues. For the philosopher of fifth century BCE, both the immediate past and the past as the Homeric tradition handed down to the citizens had been turned into problematicity itself. In this essay, I will examine the use of philosophy as memory theatre in Plato's Republic. I shall do so by interpreting Book X of the Republic as Plato's “odyssey” and suggest th

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Tassi, Aldo. "Philosophy and Theatre." International Philosophical Quarterly 35, no. 4 (1995): 469–81. http://dx.doi.org/10.5840/ipq199535448.

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Tassi, Aldo. "Philosophy and Theatre." International Philosophical Quarterly 38, no. 1 (1998): 43–54. http://dx.doi.org/10.5840/ipq199838166.

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Jory, E. J. "Gladiators in the Theatre." Classical Quarterly 36, no. 2 (December 1986): 537–39. http://dx.doi.org/10.1017/s0009838800012301.

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While restating the correct interpretation of the prologue to the Hecyra of Terence in CQ 32 (1982), 134 F. H. Sandbach has this to say: ‘Possibly the widespread view which the translators and I reject has been encouraged by disbelief that the theatre could be used for gladiatorial combat. It is true that there is no reliable evidence for such use at Rome, for Donatus' statement “hoc abhorret a nostra consuetudine uerumtamen apud antiquos gladiatores in theatro spectabantur” may be no more than inference from Terence's text.’ There is, in fact, a certain amount of evidence for gladiatorial com

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Wilmer, Stephen Elliot, and Karen Vedel. "Theatre and Continental Philosophy." Nordic Theatre Studies 31, no. 1 (March 13, 2019): 2–7. http://dx.doi.org/10.7146/nts.v31i1.112997.

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Cull Ó Maoilearca, Laura. "Notes toward The Philosophy of Theatre." Anglia 136, no. 1 (March 8, 2018): 11–42. http://dx.doi.org/10.1515/ang-2018-0007.

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AbstractThis article draws from the contemporary French thinker François Laruelle to perform a ‘non-philosophical’ analysis of recent literature from the analytic or Anglo-American philosophy of theatre. Much of this literature, I argue, suffers from the problem of application, namely: non- or extra-theatrical assumptions are both brought to bear upon and remain unchallenged by the philosopher’s encounter with theatre – particularly in the form of assumptions as to the nature of philosophy or the role or position of philosophy with respect to other forms of thought, such as theatre and perform

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Kornhaber, David. "Philosophy and Theatre: An Introduction." PAJ: A Journal of Performance and Art 39, no. 3 (September 2017): 99–100. http://dx.doi.org/10.1162/pajj_r_00385.

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Cull Ó Maoilearca, Laura. "Equalizing Theatre and Philosophy: Laruelle, Badiou, and gestures of authority in the philosophy of theatre." Performance Philosophy 3, no. 3 (December 21, 2017): 730. http://dx.doi.org/10.21476/pp.2017.33162.

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In this article I engage François Laruelle’s notion of ‘non-standard’ aesthetics to provide a critical perspective on Alain Badiou’s various pronouncements on the philosophy of theatre. Whilst in works such as In Praise of Theatre (2015), Badiou initially appears magnanimous in relation to theatre’s own thinking, and indeed to demote the function of philosophy in relation to an ontological privilege now accorded (by him) to set theory, I will argue that this very benevolence, from a Laruellian perspective, constitutes another form of philosophical authoritarianism. That is, whilst Badiou famou

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Meyer-Dinkgräfe, Daniel, and Anita S. Hammer. "Performance as Philosophy — the universal language of the theatre revisited." Nordic Theatre Studies 28, no. 2 (February 21, 2017): 97. http://dx.doi.org/10.7146/nts.v28i2.25520.

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The history of philosophy is widely considered as the history of exercises in speculation. However, it is also possible to understand philosophy not as the outcome of speculation, but at the attempt by philosophers to explain, make sense of, and ultimately share, their own experiences of a very subtle, powerful and spiritual nature. The growing field of performance philosophy begins to acknowledge the potential of considering philosophy as an expression of immediate experience rather than distant speculation. This acknowledgement can take the shape of employing performance to express philosoph

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Dissertationen zum Thema "Theatre (philosophy)"

Darroch, Michael. "Theatre and the materialities of communication." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102797.

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This dissertation is situated within the field of media studies, with a particular focus on the "materialities of communication." The concept of "materialities" is oriented to the underlying conditions that allow communication to take place: the places, carriers and modes of communication that serve to shape and even alter meaning. My dissertation asks how this "material turn" can usefully be applied to and help develop the study of theatre.<br>The dissertation is divided into four chapters. In Chapter 1, I undertake a critical review of the theoretical literature regarding materialities and i

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Milne, Andrew Greg. "A critique of the philosophy of modern theatre." Thesis, University of Cambridge, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.385351.

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Rehorek, Karel. "The philosophy and practices of the Paperbag Theatre Company /." Title page, contents and conclusion only, 1992. http://web4.library.adelaide.edu.au/theses/09AR/09arr3452.pdf.

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Katsouraki, Evanthia. "Theatre director's philosophical entanglements : aesthetics and politics of the modernist theatre." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/33250.

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This thesis presents a conceptual examination of the modernist director read through Gillian Rose's speculative lenses of the 'broken middle'. Highlighting the significance of speculative philosophy, I explore the meaning of the director as a mediating subjectivity. I demonstrate how a speculative reading of the director can act as a corrective to the received totalitarian, despotic image of the director. I urge for the rehabilitation of the director as a history and as a practice and I propose the emergence of this figure as being the outcome of a complex theatrical articulation entangled wit

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Shadle, Jennifer Klicker. "Protect, Preserve, and Reform: An Analysis of Three Plays by David Mamet Through the Lens of Kirkian Conservatism." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1528484860315471.

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Hadley, Bree Jamila. "Habit in the theatre : Henri Bergson, Gilles Deleuze and performance, with particular reference to the physical theatre of Yumi Umiumare and David Pledger." Monash University, Centre for Comparative Literature and Cultural Studies, 2004. http://arrow.monash.edu.au/hdl/1959.1/5287.

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Barclay, Julia Lee. "Apocryphal theatre : practicing philosophies." Thesis, University of Northampton, 2009. http://nectar.northampton.ac.uk/3597/.

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Apocryphal Theatre: Practising Philosophies is a practice-based research project that consists of examples of my theatre practice (as research) and a written thesis. In this thesis, I argue that theatre can be seen to be an act of philosophy, by tessellating Maurice Merleau-Ponty's definition of philosophy as consisting of relearning to look at the world and Gilles Deleuze and Felix Guattari's proposition that philosophy is the creation of concepts, and pointing to post-WWII theatre artists whose work both fulfill this definition of philosophy and have informed Apocryphal Theatre's work. Inclu

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Dalmasso, Frederic. "Alain Badiou's transitory theatre." Thesis, Loughborough University, 2011. https://dspace.lboro.ac.uk/2134/10180.

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This thesis explores how theatre informs Badiou's philosophy through detailed analysis of Badiou's theory of theatre and his six plays L'Écharpe rouge, Incident at Antioch and the Ahmed tetralogy . It argues that theatre has provided an ideal and material ground for Badiou to rehearse concepts he developed in his Logics of the Worlds (2006) and Second Manifesto for Philosophy (2009), such as that of ideation and incorporation. By placing theatre at the core of Badiou's work, this thesis provides a different point of entry into Badiou's philosophy: it demonstrates the overarching nature of Bad

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Johnston, Daniel Waycott. "Active Metaphysics: Acting as Manual Philosophy or Phenomenological Interpretations of Acting Theory." Thesis, The University of Sydney, 2007. http://hdl.handle.net/2123/3984.

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This thesis considers actors as ‘manual philosophers’; it engages the proposition that acting can reveal aspects of existence and Being. In this sense, forms of acting that analyse and engage with lived experience of the world offer a phenomenological approach to the problem of Being. But rather than arrive at abstract, general conclusions about the human subject’s relationship to the world, at least some approaches to acting investigate the structures of experience through those experiences themselves in a lived, physical way. I begin with the troubled relationship between philosophy and th

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Fletcher, Narelle, University of Western Sydney, of Performance Fine Arts and Design Faculty, and School of Design. "The Role of the translator in theatre." THESIS_FPFAD_SD_Fletcher_N.xml, 1997. http://handle.uws.edu.au:8081/1959.7/757.

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The author approaches the subject of translating for theatre both as a theatre practitioner and professional translator working in three languages. Translation is generally regarded as process of linguistic transfer from one language to another language in written form. Theatrical texts are an unique literary form because their written form is a base, anchor and springboard for the text in performance. Until recently, translation studies have tended to oscillate between lofty pronouncements which remain too general to be easily applicable to the practical task of translating and close textual

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Bücher zum Thema "Theatre (philosophy)"

Daniel, Watt, Meyer-Dinkgräfe Daniel 1958-, and Theatre and Performance Research Association., eds. Theatres of thought: Theatre, performance and philosophy. Newcastle, UK: Cambridge Scholars Pub., 2007.

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Theatre. New York: Faber and Faber, Inc., 2010.

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Daddario, Will. Baroque, Venice, Theatre, Philosophy. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-49523-1.

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André, Helbo, ed. Approaching theatre. Bloomington: Indiana University Press, 1991.

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Michael, Shanks, ed. Theatre / archaeology. London: Routledge, 2001.

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Theatre sciences: A plea for a multidisciplinary approach to theatre studies. Brighton [England]: Sussex Academic Press, 2014.

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Reading theatre. Toronto: University of Toronto Press, 1999.

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Mike, Pearson. Theatre/archaeology. London: Routledge, 2001.

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Theatre & ethics. New York: Palgrave Macmillan, 2009.

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Reading the material theatre. Cambridge: Cambridge University Press, 2004.

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Buchteile zum Thema "Theatre (philosophy)"

Alloa, Emmanuel, and Sophie-Thérèse Krempl. "Philosophy and theatre." In The Routledge Companion to Performance Philosophy, 174–81. Abingdon, Oxon; New York, NY: Routledge, 2020. | Series: Routledge companions; 18: Routledge, 2020. http://dx.doi.org/10.4324/9781003035312-19.

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Nellhaus, Tobin. "Philosophy, History, Theatre." In Theatre, Communication, Critical Realism, 19–55. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230107953_2.

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Orozco, Lourdes. "Animals, Philosophy and Ecology." In Theatre & Animals, 20–25. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-10431-1_5.

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Garcin-Marrou, Flore. "Theatre-thinking." In The Routledge Companion to Performance Philosophy, 166–73. Abingdon, Oxon; New York, NY: Routledge, 2020. | Series: Routledge companions; 18: Routledge, 2020. http://dx.doi.org/10.4324/9781003035312-18.

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Conway, Jay. "Theatre of Operations." In Gilles Deleuze: Affirmation in Philosophy, 35–124. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230299085_3.

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Johnston, Daniel. "Preparing the Part: Theatre and Philosophy." In Theatre and Phenomenology, 11–25. London: Macmillan Education UK, 2017. http://dx.doi.org/10.1057/978-1-137-53052-3_2.

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Johnston, Daniel. "Conclusion: Lights Up on Manual Philosophy." In Theatre and Phenomenology, 175–88. London: Macmillan Education UK, 2017. http://dx.doi.org/10.1057/978-1-137-53052-3_8.

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Haarmann, Anke. "The theatre of research." In The Routledge Companion to Performance Philosophy, 117–24. Abingdon, Oxon; New York, NY: Routledge, 2020. | Series: Routledge companions; 18: Routledge, 2020. http://dx.doi.org/10.4324/9781003035312-13.

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Daddario, Will. "Introduction." In Baroque, Venice, Theatre, Philosophy, 1–18. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-49523-1_1.

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Daddario, Will. "Garden Thinking and Baroque Pastoral." In Baroque, Venice, Theatre, Philosophy, 21–50. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-49523-1_2.

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Konferenzberichte zum Thema "Theatre (philosophy)"

Mantrali, I., A. Phillips, S. Abdul, V. Asher, and A. Bali. "774 Changes in theatre utilisation following implementation and establishment of maximal effort surgical philosophy for advanced epithelial ovarian cancer." In ESGO 2021 Congress. BMJ Publishing Group Ltd, 2021. http://dx.doi.org/10.1136/ijgc-2021-esgo.468.

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Bol'shakov, YA O. "Pre-revolutionary theater life in the Vologda province: coverage in the press." In Scientific dialogue: Questions of philosophy, sociology, history, political science. ЦНК МОАН, 2020. http://dx.doi.org/10.18411/spc-01-02-2020-04.

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Brudasca, Ioana. "Intertextual Projections in the Theater of Matei Vișniec. Case Study." In Conferință științifică internațională "Filologia modernă: realizări şi perspective în context european". “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2022. http://dx.doi.org/10.52505/filomod.2022.16.06.

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Matei Visniec’s theater is a process of dialogue with other writers and other literary works. Intertextual projections are also present in the play „Attic in Paris overlooking death” through quotes, allusions and a subtle parody. Beyond Visniec’s admiration for the Cioranian opera, the play reveals an identity problem present both in Cioran and Visniec, namely the profile of the Romanian writer exiled in France. We witness a metamorphosis of the philosopher Cioran into the character through memory loss. The presence of quotations from the philosopher’s work denotes in the dramatic work a genui

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D. Herzberger, Nicolas, Marcel Usai, and Michael Preutenborbeck. "Biologically Inspired Automotive User Interfaces for Partially and Highly Automated Maneuver Gestures: Final Results and Outlook." In Intelligent Human Systems Integration (IHSI 2022) Integrating People and Intelligent Systems. AHFE International, 2022. http://dx.doi.org/10.54941/ahfe100975.

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Automated driving puts severe challenges on the design and testing of automotive user interfaces. In partially automated driving, the driver is still responsible for the vehicle control, but is strongly supported by technology. In highly automated driving, the driver can give control to the automation for a certain time and can get control back e.g., when the automation encounters limits. Despite great technological progress, a truly intuitive way to interact with these automated driving modes is still under research. Project Vorreiter is addressing this by using the inspiration of a rider and

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Мир-Багирзаде, Ф. А. "Oriental symbolism of the ballet "Seven beauties" based on the poem by Nizami Ganjavi." In Современное социально-гуманитарное образование: векторы развития в год науки и технологий: материалы VI международной конференции (г. Москва, МПГУ, 22–23 апреля 2021 г.). Crossref, 2021. http://dx.doi.org/10.37492/etno.2021.91.54.086.

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автор исследует творческие интерпретации произведения поэта-гуманиста Низами Гянджеви (XII в.) из цикла «Хамсе» «Семь красавиц». Поэт, был подлинным эрудитом, знатоком не только коранических текстов, истории, античной и мусульманской философии, но и астрономии. Данная статья – попытка проследить ориентальную символику образов Гянджеви в одной из творческих интерпретаций поэмы «Семь красавиц», через призму хореографического и сценографического искусства. Метод исследования – семиотический анализ, объект исследования – балет «Семь красавиц», объединивший достижения современной европейской хореог

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