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Journal articles on the topic 'Theatre (philosophy)'

Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

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1

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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2

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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3

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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5

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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7

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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8

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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Meyer-Dinkgräfe, Daniel, and Anita S. Hammer. "Performance as Philosophy — the universal language of the theatre revisited." Nordic Theatre Studies 28, no. 2 (February 24, 2017): 97. http://dx.doi.org/10.7146/nts.v28i2.25604.

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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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12

Cull Ó Maoilearca, Laura. "From the Philosophy of Theatre to Performance Philosophy: Laruelle, Badiou and the Equality of Thought." Labyrinth 19, no. 2 (March 14, 2018): 102. http://dx.doi.org/10.25180/lj.v19i2.97.

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This article draws from François Laruelle's non-standard philosophy to locate gestures of philosophical "authority" or 'sufficiency" within recent work in the philosophy of theatre - including material from contemporary Anglo-American philosophical aesthetics, and texts by Alain Badiou, such as In Praise of Theatre (2015). Whilst Badiou initially appears magnanimous in relation to theatre's own thinking - famously describing theatre as "an event of thought" that "directly produces ideas" (Badiou 2005: 72) - I argue that this very benevolence, from a Laruellean perspective, constitutes another

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13

Kornhaber, David, and Martin Middeke. "Drama, Theatre, and Philosophy: An Introduction." Anglia 136, no. 1 (March 8, 2018): 1–10. http://dx.doi.org/10.1515/ang-2018-0006.

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14

Bosteels, Bruno. "TRANSLATOR'S INTRODUCTION: STAGING BADIOU." Theatre Survey 49, no. 2 (October 23, 2008): 183–86. http://dx.doi.org/10.1017/s0040557408000112.

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Rhapsody for the Theatre: A Short Philosophical Treatise, first published in French in 1990, occupies a unique spot in Alain Badiou's oeuvre. Part theory and part theatre, or at least prototheatre, it certainly can be read alongside other books from the same period, especially Handbook of Inaesthetics and Metapolitics, devoted respectively to the truth procedures of art and politics that function as two of the four conditions of philosophy according to Badiou. Of the other two conditions, mathematics is treated in Number and Numbers and Briefings on Existence: A Short Treatise on Transitory On

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15

BIERNAT, JUSTYNA. "The Landscape of Węgajty Theatre." Theatre Research International 46, no. 3 (October 2021): 303–21. http://dx.doi.org/10.1017/s0307883321000286.

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The alternative culture in Poland formed between the late 1970s and the second half of the 1990s. In this period many artists were moving from cities into the countryside in order to find space for independent and experimental art. Among these new settlers were Erdmute and Wacław Sobaszek, who made their home in a small rural settlement of Węgajty in the 1980s. The Sobaszeks converted an abandoned farm into a stage and soon their undertaking became one of the most prominent alternative theatres in Poland. This article explores intersections of the Sobaszeks's art and rural landscape through th

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16

Nellhaus, Tobin. "Online Role-playing Games and the Definition of Theatre." New Theatre Quarterly 33, no. 4 (October 11, 2017): 345–59. http://dx.doi.org/10.1017/s0266464x17000483.

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Online role-playing games are a form of entertainment in which players create characters and improvisationally perform scenes together within a digital virtual world. It has many theatre-like aspects, which raises the question of whether it is in fact a form of theatre. To answer that question, however, one must first have a definition of theatre – an issue with disciplinary consequences – and in this article Tobin Nellhaus develops a definition founded on social ontology, suggesting that theatrical performance, unlike other social practices, replicates society's ontology. From that perspectiv

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17

Mirecka, Agata. "Polski krytyk teatralny Andrzej Wirth – mistrz przemieszczania się i jego rola w kształtowaniu nowego oblicza teatru w Niemczech." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 22 (December 31, 2022): 173–84. http://dx.doi.org/10.24917/20811853.22.10.

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Andrzej Wirth, a 20th century Polish essayist, philosopher and theatre critic, is one of the often forgotten theatre and drama scholars in Poland, perhaps due to his long life in exile. A recognized expert in theatre studies and philosophy, he has lectured at many universities around the world, especially in the United States and Europe. He gained particular recognition as the founder and director of the Institute for Applied Theatre Studies at the University of Giessen in Germany. The aim of this article is to introduce Wirth’s personality, outline his life between cultures and highlight his

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18

Rozik, Eli. "The Functions of Language in the Theatre." Theatre Research International 18, no. 2 (1993): 104–14. http://dx.doi.org/10.1017/s0307883300017260.

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Roman Ingarden's publication of ‘The Functions of Language in the Theater’ (1958) was a landmark in the development of theatre theory in the twentieth century. Since its appearance several methods of research have radically influenced our understanding of the functions of language within this art, particularly semiotics, pragmatics and philosophy of language. More than thirty years after publication of Ingarden's work, it is sensible to address the same question once again and to suggest a theory that reflects the state of the art today.

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19

Caponi-Doherty, Gabriella. "Dramatic Interactions: Teaching Languages, Literatures and Cultures through Theater—Theoretical Approaches and Classroom Practices, edited by Colleen Ryan and Nicoletta Marini-Maio." Scenario: A Journal of Performative Teaching, Learning, Research VI, no. 2 (July 1, 2012): 88–90. http://dx.doi.org/10.33178/scenario.6.2.9.

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This rich collection of essays is an apt follow up to the excellent previous volume on theatre and language pedagogy – Set the Stage! Teaching Italian through Theater. Theories, Methods, and Practices – published by the two co-editors - Colleen Ryan (Indiana University) and Nicoletta Marini-Maio (Dickinson College) – in 2009. While the previous volume was intended specifically to offer resources to teachers and students to help them incorporate the Italian theatre tradition into the language curriculum, this new collection seeks to confirm the effectiveness of using theatre for foreign languag

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20

Antoniou, Michaela. "Performing Ancient Greek Tragedy in Twentieth-Century Greece: Dimitris Rontiris and Karolos Koun." New Theatre Quarterly 33, no. 1 (January 10, 2017): 31–46. http://dx.doi.org/10.1017/s0266464x16000610.

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In this article Michaela Antoniou gives an account of the two prevailing acting schools in ancient Greek tragedy in the twentieth century, as formed and developed by Dimitris Rontiris at the National Theatre and Karolos Koun at the Theatro Technis (Art Theatre). She discusses how these two great theatre masters directed, guided, and taught their actors to perform tragedy, arguing that Rontiris's approach stemmed from a text-based perspective that focused on reciting and pronunciation, while Koun's developed from a physical and emotional approach that prioritzed actors and their abilities. Her

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21

Golub, Spencer. "Baroque, Venice, Theatre, Philosophy by Will Daddario." Theatre Journal 71, no. 4 (2019): 529–30. http://dx.doi.org/10.1353/tj.2019.0102.

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22

Ezell, Brice. "Hana Worthen, Humanism, Drama, and Performance: Unwriting Theatre." Modern Drama 65, no. 2 (June 1, 2022): 266–69. http://dx.doi.org/10.3138/md-65-2-br8.

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Hana Worthen’s Humanism, Drama, and Performance: Unwriting Theatre is a trans-historical and transnational survey of humanist conceptions of the theatre, of use to graduate students and researchers working on the intersections of theatre studies, performance studies, and philosophy.

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23

Vatovec, Matej T. "Nota Bene. Anti-representation enters the theatre." Maska 28, no. 157 (October 1, 2013): 128–40. http://dx.doi.org/10.1386/maska.28.157-158.128_1.

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This article deals with the problem of artistic representation in theatre. It explores the practice of the Italian actor and director Carmelo Bene, which virtually coincides with the theoretical (or philosophical) thought of Gilles Deleuze and his philosophy of difference. The author tries to show the move from classical theatre representation towards the critical staging that overturns the theatre practice, actualizing at once the 'philosophy of difference" in art. In the author's theoretical view, this shift represents the essence of artistic activity - the so-called "de-equalisation" or den

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24

ROKEM, FREDDIE. "Dramaturgies of Exile: Brecht and Benjamin ‘Playing’ Chess and Go." Theatre Research International 37, no. 1 (January 26, 2012): 5–19. http://dx.doi.org/10.1017/s0307883311000721.

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In my book Philosophers and Thespians: Thinking Performance (Stanford University Press, 2010) I analysed four encounters between philosophers and theatre people – the thespians in the title – as a point of departure for presenting a typology based on the exploration of the complex border landscapes between the discursive practices of philosophy and performance/theatre. In this article, I take a closer look at one of these encounters, exploring the narrative strategies of Bertolt Brecht and Walter Benjamin, as well as Franz Kafka, suggesting that they can be analysed on the basis of the games o

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Façanha, Luciano da Silva, Zilmara de Jesus Viana de Carvalho, Maria Olilia Serra, Helderson Mariani Pires, Márcio Junior Montelo Tavares, Priscila de Oliveira Silva, Franciscleyton dos Santos da Silva, Leonardo Silva Sousa, Elainy Priscila Gonçalves Reis, and Nildo Francisco da Silva. "PHILOSOPHY AND THEATRE IN THE CENTURY OF ENLIGHTENMENT." International Journal for Innovation Education and Research 9, no. 7 (July 1, 2021): 69–83. http://dx.doi.org/10.31686/ijier.vol9.iss7.3220.

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The theatrical performance has always been a continual concern during all the history of humanity, because it performs an art where people have certain stories that arouse many feelings and insights to the spectators. It highlights the fact that the theatrical performance has special importance for philosophical reflection, especially in the characteristic illustration of the philosophy of the eighteenth century. In this context, several thinkers participated intensely of the political reality of this time, using the theatrical practice on several occasions, both for the contribution to the in

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Wetmore, Kevin J. "Baroque, Venice, Theatre, Philosophy, written by Will Daddario." Journal of Jesuit Studies 5, no. 4 (November 15, 2018): 682–84. http://dx.doi.org/10.1163/22141332-00504010-08.

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27

Kolenc, Bara. "On repetition and theatricality: Dialogue with Samuel Weber." Maska 33, no. 191 (September 1, 2018): 52–61. http://dx.doi.org/10.1386/maska.33.191-192.52_1.

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In this article, I question the notion of theatricality, which points to the ever-problematic encounter of philosophy and theatre. I do this in dialogue with Samuel Weber’s elaboration of this concept in his book Theatricality as Medium from 2004 as well as with his reading of Kierkegaard’s Repetition, An Essay in Experimental Psychology, which can be found in Weber’s discussion with Terry Smith titled Repetition: Kierkegaard, Artaud, Pollock and the Theatre of the Image. I argue that viewing the encounter of philosophy and theatre through the perspective of repetition offers a very productive

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28

Motal, Jan. "Imagine the Utopia! Rethinking Alain Badiou’s Theatre-Politics Isomorphism." Slovenske divadlo /The Slovak Theatre 66, no. 3 (September 1, 2018): 311–29. http://dx.doi.org/10.2478/sd-2018-0019.

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Abstract The presented article is a polemic with Alain Badiou’s concept of theatre-politics isomorphism. The author adapts the basic elements of Badiou’s philosophy (event, void Ø, truth etc.), provides an interpretation of his theory of theatre and presents crucial critical arguments to reveal the reductionism of Badiou’s philosophy. Subsequently, the author presents his alternative theory of theatre based on this ground. The article assumes that theatre performance is a live, truthful event, an encounter of humans experiencing an imagined Utopia based on their structural homology (shared mat

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Anđelković, Bojan. "Philosophy and its double: Nietzsche, Deleuze and the Theatre of Repetition." Maska 33, no. 191 (September 1, 2018): 62–69. http://dx.doi.org/10.1386/maska.33.191-192.62_1.

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In the article, the author rejects Badiou’s claim that there is no space in Nietzsche’s philosophy for theatricality, pointing out that an important concept in Nietzsche’s philosophy is the mask. The main issue is the problem of representation, which is also central in Deleuze’s work. In thinking about the struggle against representation, an important reference in Deleuze’s work is Artaud. Although Deleuze did not write any monograph on theatre, the author stresses that theatre is one of the main areas of his philosophy and that it appears as such in all his books and even methods, such as the

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Speckenbach, Jan, and Thomas Irmer. "In Interview: On the Development of Video in the Theatre." New Theatre Quarterly 38, no. 3 (July 19, 2022): 234–41. http://dx.doi.org/10.1017/s0266464x22000161.

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German film artist Jan Speckenbach ingeniously contributed to the development of live video on the stage, and this discussion focuses on his education, as well his as experimental collaborations with director Frank Castorf at the Volksbühne Berlin, starting in 2000. Speckenbach’s background in film and media studies facilitated his explorations of uncharted territory in the theatre, going from a set of fixed cameras on the stage to the use of a camera crew with live-editing for augmented images as part of the whole directing concept and process. His first-hand insights into how actors have int

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Jacobs, Elizabeth. "Shadow of a Man: a Chicana/Latina Drama as Embodied Feminist Practice." New Theatre Quarterly 31, no. 1 (January 30, 2015): 49–58. http://dx.doi.org/10.1017/s0266464x15000056.

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One of the most important influences on the development of Cherríe Moraga's feminist theatre was undoubtedly the work of Maria Irene Fornes, the Cuban American playwright and director. Moraga wrote the first drafts of her second play Shadow of a Man while on Fornes's residency programme at the INTAR Hispanic Playwrights-in-Residence Laboratory in New York, and later Fornes directed the premiere at the Brava-Eureka Theatre in San Francisco (1990). The play radically restages the Chicana body through an exploration of the sexual and gendered politics of the family. Much has been written on how t

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Dalton, Stuart. "Three forms of philosophical theatre in Kierkegaard’s Journals and Notebooks." Philosophy & Social Criticism 48, no. 1 (January 2022): 86–127. http://dx.doi.org/10.1177/0191453720987863.

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I argue that Kierkegaard’s Journals and Notebooks deserve to be read as works of philosophy and not just used as supplements to bring order and respectability to Kierkegaard’s other writings. There are at least three specific philosophical values in Kierkegaard’s journals – three ways in which the journals create philosophy within their own pages and therefore deserve to be read as independent works of philosophy and not just as supplements to Kierkegaard’s other writing: (1) The journals demonstrate what a true work of existential philosophy looks like. (2) The journals contribute to Kierkega

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Seetoo, Chiayi. "An Illusion that Mirrors a Dream." TDR: The Drama Review 65, no. 2 (June 2021): 106–30. http://dx.doi.org/10.1017/s1054204321000113.

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Director and playwright Stan Lai premiered his marathon play Ago in Shanghai at the end of 2019. Staged in his signature “lotus pond” theatre-in-the-surround, Ago is fueled by Lai’s cross-cultural sensibilities and Buddhist philosophy. If theatre is an art of illusion-making and life is like a dream, Lai turns theatre-going into a ritual of self-encounter and self-reflection, where an illusion mirrors a dream.

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34

Meyer-Dinkgräfe, Daniel. "Theatre and Ethics." European Legacy 18, no. 4 (July 2013): 517. http://dx.doi.org/10.1080/10848770.2013.791447.

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35

Gramsci, Antonio. "Gramsci on Theatre." New Theatre Quarterly 12, no. 47 (August 1996): 259–65. http://dx.doi.org/10.1017/s0266464x00010253.

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Our occasional series on early Marxist theatre criticism – which has already included Trotsky on Wedekind in NTQ28, Lunacharsky on Ibsen in NTQ39, and Mehring on Hauptmann in NTQ 42 – continues with two essays by the Italian Marxist philosopher Antonio Gramsci, whose concepts of hegemony, the national-popular, and the organic intellectual have had a profound influence on twentieth-century western thought. From 1916 to 1920 Gramsci was also a theatre critic, writing a regular drama review column in the Piedmont edition of the socialist daily newspaper Avanti! in which he first explored ideas ab

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Kayani, Taimur, and Arbaayah Ali Termizi. "Literary Representations of Capitalist Dictatorship in Transcultural Adaptations of Brecht’s The Resistible Rise of Arturo Ui by Ajoka Theatre in Pakistan." International Journal of Comparative Literature and Translation Studies 5, no. 1 (January 31, 2017): 16. http://dx.doi.org/10.7575/aiac.ijclts.v.5n.1p.16.

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Brecht’s ‘canonical’ literary work’s indigenization in Pakistan can offer a valuable transcultural adaptation study because it was performed through a radical theatre with a distinct dramaturgy and political philosophy in two different cultural contexts and historical frame of references. As the foremost representative of Brecht’s radical dramaturgy, philosophy and literary works in Pakistan since 1983, Ajoka theatre utilized these adaptations as socio-political spaces to challenge dominant discourses on the rise of dictatorship and capitalism in Pakistan. Prior studies explored the formal ele

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37

Puchner, Martin. "Afterword: Please Mind the Gap between Theatre and Philosophy." Modern Drama 56, no. 4 (December 2013): 540–53. http://dx.doi.org/10.3138/md.s85.

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38

CULL, LAURA. "Performance as Philosophy: Responding to the Problem of ‘Application’." Theatre Research International 37, no. 1 (January 26, 2012): 20–27. http://dx.doi.org/10.1017/s0307883311000733.

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This article begins from the premise that a ‘critical turning point’ has been reached in terms of the relationship between performance and philosophy. Theatre and performance scholars are becoming increasingly engaged in philosophical discourse and there are growing amounts of work that take philosophy – from the work of Plato to Heidegger and Deleuze – as their guiding methodology for performance analysis. However, this article argues that we need to go further in questioning how we use philosophy in relation to performance, and that theatre and performance scholarship should attempt to go be

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Mosse, Ramona. "Thinking Theatres beyond Sight: From Reflection to Resonance." Anglia 136, no. 1 (March 8, 2018): 138–53. http://dx.doi.org/10.1515/ang-2018-0013.

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AbstractThis essay seeks to propose an alternative to the established connection between theatre and theory through the sense of sight by turning to recent developments in sound studies and analyzing theatrical performance that privileges an aesthetic of aurality over that of vision. In taking Complicite’s The Encounter as a primary example of aural immersion and connecting it to philosophies of listening from Jean-Luc Nancy to Hans-Georg Gadamer but also to the complex media history of sound, the essay offers a theoretical revaluation of the concept of resonance. Resonance opens up an alterna

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D'Arcy, Geraint. "'Visibility brings with it responsibility': Using a Pragmatic Performance Approach to Explore a Political Philosophy of Technology." Performance Philosophy 3, no. 1 (June 25, 2017): 178. http://dx.doi.org/10.21476/pp.2017.3139.

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With the emergence, suspicion and social acceptance of ubiquitous communications technology thoroughly plumbed and the digital age already wondering what it is going to rename itself in light of ever more fluid and complex technologies, this paper asks: what can theatre and performance provide to the production of a political philosophy of technology?� Using the work of Maurice Merleau-Ponty, Michel Foucault and an analysis of a recent inter-cultural adaptation of Jean Genet's The Maids, this study examines the politics of visible theatre technologies in performance and offers a pragmatic, or

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41

Elden, Stuart. "Foucault and Shakespeare: Ceremony, Theatre, Politics." Southern Journal of Philosophy 55 (August 30, 2017): 153–72. http://dx.doi.org/10.1111/sjp.12225.

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42

Corrêa, Graça P. "Longing and belonging through migration: Otherness and empathy in theatre and philosophy." Performing Ethos: International Journal of Ethics in Theatre & Performance 9, no. 1 (November 1, 2019): 55–66. http://dx.doi.org/10.1386/peet_00005_1.

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Abstract This article examines how theatre and philosophy may critically contribute to discussing empathy towards otherness in the context of the ongoing massive surge of migration across the globe. Drawing on concepts from philosophical works by Baruch Spinoza, Henri Bergson and Jacques Derrida, it investigates how different dramaturgical techniques and aesthetics ‐ namely in Euripedes' Children of Heracles (c.430 BCE), Roland Schimmelpfennig's The Golden Dragon (2009) and Nikos Kazantzakis and Graça P. Corrêa's Christ Recrucified (1954/2018) ‐ address ethical-affective percepts such as empat

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Saltz, David Z. "From Semiotics to Philosophy: Daring to Ask the Obvious." Performance Philosophy 1, no. 1 (April 10, 2015): 95. http://dx.doi.org/10.21476/pp.2015.1124.

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From the late 1960s through the 1980s a steadily-expanding group of international scholars joined forces to develop a comprehensive and unified semiotic theory of theatre. The semiotic wave had largely subsided by the early 1990s, leaving in its wake a profound, and largely justified, scepticism about universal, essentialist, and ahistorical theoretical models. It is possible, however, to ask basic philosophical questions about the ‘nature’ of theatre and performance without falling into the trap of universalizing or essentializing what are, in fact, historically and/or culturally specific pra

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Seip, Oscar. "Giulio Camillo’s Theatre of Knowledge Revisited." Nuncius 37, no. 1 (November 18, 2021): 59–83. http://dx.doi.org/10.1163/18253911-bja10019.

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Abstract In the Sixteenth Century, the Italian humanist Giulio Camillo built a ‘Theatre of Knowledge’ for the French King Francis I. Previous scholarship has debated whether this theatre was a physical place, a mental (mnemonic) space, or both. New archival evidence that has been overlooked in previous scholarship on Camillo, and his theatre, unequivocally proves for the first time that Camillo’s theatre had in fact been built in Paris. This invites a reconsideration of past reconstructions of the theatre and allows for the formulation of a new one. In this article, I have explored the hypothe

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Fair, Alistair. "‘A new image of the living theatre’: the Genesis and Design of the Belgrade Theatre, Coventry, 1948–58." Architectural History 54 (2011): 347–82. http://dx.doi.org/10.1017/s0066622x00004093.

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When it opened in March 1958, the Belgrade Theatre, Coventry, was the first new professional theatre to be constructed in Britain for nearly two decades and the country’s first all-new civic theatre (Figs 1 and 2). Financially supported by Coventry City Council and designed in the City Architect’s office, it included a 910-seat auditorium with associated backstage facilities. Two features of the building were especially innovative, namely its extensive public foyers and the provision of a number of small flats for actors. The theatre, whose name commemorated a major gift of timber to the city

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Haus, Heinz-Uwe. "Theatre as Storytelling: Preface." European Legacy 13, no. 3 (June 2008): 273–75. http://dx.doi.org/10.1080/10848770802052079.

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Vagapova, Natalia. "POLITICAL THEATER ON THE SCENES OF BELGRADE INTERNATIONAL THEATRE FESTIVAL." Urgent Problems of Europe, no. 2 (2021): 154–75. http://dx.doi.org/10.31249/ape/2021.02.07.

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The article presents a cultural and political analysis of the activities of the Belgrade International Theater Festival (BITEF) - a significant theatrical, general cultural and social phenomenon in Serbia, the Balkans / South-Eastern Europe, and throughout Europe as a whole. Before the collapse of the SFRY (1991-1992), being the official showcase of self-government socialism, the festival was at the same time one of the most representative shows of new theatrical trends in Europe. It was attended by troupes from the countries of the East and West - Western and Eastern Europe, the USSR, the USA

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Drennan, Barbara. "Theatre History-Telling: New Historiography, Logic and the Other Canadian Tradition." Theatre Research in Canada 13, no. 1 (January 1992): 46–62. http://dx.doi.org/10.3138/tric.13.1.46.

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A proliferation of sign-posts' dot the landscape of our contemporary discourse: 'postmodernism,' 'poststructuralism,' 'postcolonialism,' 'postindustrial'.... As we wearily anticipate yet another 'post' on the horizon, it becomes clear that what theatre researchers are experiencing is a significant epistemological shift which reflects a changing reality. Any change in the philosophy of knowledge will have a bearing on Theatre Historiography in Canada as elsewhere. This essay addresses this issue and outlines an 'other' theatre historiography which weaves the theories of Harold Innis and Marshal

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Cherviakov, N. I. "The Struggle for Beauty in E.M. Bespiatov’s Philosophy of Theatre." Philosophical Letters. Russian and European Dialogue 5, no. 2 (June 2022): 187–98. http://dx.doi.org/10.17323/2658-5413-2022-5-2-187-198.

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Beggs, Anne. "RevisitingMarat/Sade: Philosophy in the Asylum, Asylum in the Theatre." Modern Drama 56, no. 1 (March 2013): 60–79. http://dx.doi.org/10.3138/md.2012-0492.

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