The fifteen original essays in "Staging Philosophy "make useful connections between the discipline of philosophy and the fields of theater and performance and use these insights to develop new theories about theater. Each of the contributors--leading scholars in the fields of performance and philosophy--breaks new ground, presents new arguments, and offers new theories that will pave the way for future scholarship.
"Staging Philosophy "raises issues of critical importance by providing case studies of various philosophical movements and schools of thought, including aesthetics, analytic philosophy, phenomenology, deconstruction, critical realism, and cognitive science. The essays, which are organized into three sections--history and method, presence, and reception--take up fundamental issues such as spectatorship, empathy, ethics, theater as literature, and the essence of live performance. While some essays challenge assertions made by critics and historians of theater and performance, others analyze the assumptions of manifestos that prescribe how practitioners should go about creating texts and performances. The first book to bridge the disciplines of theater and philosophy, "Staging Philosophy" will provoke, stimulate, engage, and ultimately bring theater to the foreground of intellectual inquiry while it inspires further philosophical investigation into theater and performance.
David Krasner is Associate Professor of Theater Studies, African American Studies, and English at Yale University. His books include "A Beautiful Pageant: African American Theatre, Drama, and Performance in the Harlem Renaissance, 1910-1920 "and "Renaissance, Parody, and Double Consciousness in AfricanAmerican Theatre, 1895-1910," He is co-editor of the series Theater: Theory/Text/Performance.
David Z. Saltz is Associate Professor of Theatre Studies and Head of the Department of Theatre and Film Studies at the University of Georgia. He is coeditor of "Theater Journal "and is the principal investigator of the innovative Virtual Vaudeville project at the University of Georgia.

The fifteen original essays in "Staging Philosophy "make useful connections between the discipline of philosophy and the fields of theater and performance and use these insights to develop new theories about theater. Each of the contributors--leading scholars in the fields of performance and philosophy--breaks new ground, presents new arguments, and offers new theories that will pave the way for future scholarship.
"Staging Philosophy "raises issues of critical importance by providing case studies of various philosophical movements and schools of thought, including aesthetics, analytic philosophy, phenomenology, deconstruction, critical realism, and cognitive science. The essays, which are organized into three sections--history and method, presence, and reception--take up fundamental issues such as spectatorship, empathy, ethics, theater as literature, and the essence of live performance. While some essays challenge assertions made by critics and historians of theater and performance, others analyze the assumptions of manifestos that prescribe how practitioners should go about creating texts and performances. The first book to bridge the disciplines of theater and philosophy, "Staging Philosophy" will provoke, stimulate, engage, and ultimately bring theater to the foreground of intellectual inquiry while it inspires further philosophical investigation into theater and performance.
David Krasner is Associate Professor of Theater Studies, African American Studies, and English at Yale University. His books include "A Beautiful Pageant: African American Theatre, Drama, and Performance in the Harlem Renaissance, 1910-1920 "and "Renaissance, Parody, and Double Consciousness in AfricanAmerican Theatre, 1895-1910," He is co-editor of the series Theater: Theory/Text/Performance.
David Z. Saltz is Associate Professor of Theatre Studies and Head of the Department of Theatre and Film Studies at the University of Georgia. He is coeditor of "Theater Journal "and is the principal investigator of the innovative Virtual Vaudeville project at the University of Georgia.

This volume collects original essays on Hungarian-German playwright and screenwriter George Tabori (1914-2007) and his remarkable contributions to the stage. Tabori, a Jewish refugee and a truly transnational author, was best known for his work in New York theater that irreverently explored the Jewish experience, particularly the Holocaust. Although his illustrious career spanned a century, two continents, several languages, and a variety of literary genres, Tabori's work has received scant attention in American letters, in spite of its significance for U.S. theater and Holocaust studies. Until Tabori, most dramas about the Holocaust were either rooted in American domestic realism, striving to create a strong empathetic connection between the audience and Holocaust victims, or featured an unembellished documentary style. Tabori staked out a third position, beyond realism and documentation. The volume brings together the voices of international scholars to provide a comprehensive introduction to Tabori's theater as well as in-depth analyses of his work, discussing all of his major plays. Individual essays address Tabori's postdramatic theater in relation to sacrificial ritual, performance studies, and post-humanist approaches to the contemporary stage, as well as performance aspects of his productions, questions of ethics and aesthetics raised by his theater, and his plays' relation to Holocaust representation in popular culture.

This timely collaboration by three prominent scholars of media-based performance presents a new model for understanding and analysing theatre and performance created and experienced where time-based, live events, and mediated technologies converge-particularly those works conceived and performed explicitly within the context of contemporary digital culture. Performance and Media introduces readers to the complexity of these performances and helps them understand and contextualize the work. Each author provides a different model for how best to approach this work, and invites readers to develop their own critical frameworks, i.e., taxonomies, to analyse both past and emerging performances. Performance and Media capitalizes on the advantages of digital media and online collaborations, while simultaneously creating a responsive and integrated resource for research, scholarship, and teaching. Unlike other monographs or edited collections, this book presents the concept of multiple taxonomies as a model for criticism in a dynamic and rapidly changing field.