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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.
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