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Between the Lines
In thinking about the conceptual empty spaces of theatre, Between the Lines: A Philosophy of Theatre investigates theatre as an art form, the properties of theatrical characters and theatrical worlds, and the difference between truth and truthfulness in the theatre. Ultimately, this book aims to offer a systematic account of theatre--thinking about theatre metaphysically, epistemologically, and ethically.
Narrating the Past through Theatre
This cutting-edge title explores how narrating the past both conflicts and creates an interesting relationship with drama's 'continuing present' that arcs towards an unpredictable future. Theatre both brings the past alive and also fixes it, but through the performance process, allowing the past to be molded for future (not-yet-existent) audiences.
The Cambridge Introduction to Theatre and Literature of the Absurd
This accessible Introduction provides an in-depth overview of absurdism and its key figures in theatre and literature, from Samuel Beckett and Harold Pinter to Tom Stoppard. Essential reading for students, this book provides the necessary tools to develop the study of some of the twentieth century's most influential works.
Reassessing the Theatre of the Absurd
Fifty years after the publication of Martin Esslin's The Theatre of the Absurd , which suggests that 'absurd' plays purport the meaninglessness of life, this book uses the works of five major playwrights of the 1950s to provide a timely reassessment of one of the most important theatre 'movements' of the 20th century.
Analytic Philosophy and the World of the Play
Cover -- Title -- Copyright -- Dedication -- Contents -- Foreword -- Acknowledgments -- Introduction: Theatre and the mirror of nature -- Part I Exposing the problem and proposing a solution -- 1 Theatrical names and reference: Dialectical-synecdochic objects and "re-creation"--2 The world of the play: Theatre as "re-creation"--Part II Applying the (proposed) solution to the problems -- 3 "Liveness"? The presumption of dramatic and theatrical "liveness" -- 4 Boundedness of (fictional) theatre to our (real) world: Actor and audience -- 5 Identity across "possible worlds": "The world beyond" the play -- Conclusions -- #1 The purpose of playing: Why go to the theatre? -- #2 Where the world of theatre ends: Performance art -- #3 Make-believe -- Afterword -- Bibliography -- Index
Words, Space, and the Audience
In this unique study, Michael Y. Bennett re-reads four influential modern plays alongside their contemporary debates between rationalism and empiricism to show how these monumental achievements were thoroughly a product of their time, but also universal in their epistemological quest to understand the world through a rational and/or empirical model. Bennett contends that these plays directly engage in their contemporary epistemological debates rather than through the lens of a specific philosophy. Besides producing new, insightful readings of heavily-studied plays, the interdisciplinary (historical, philosophical, dramatic, theatrical, and literary) frame Bennett constructs allows him to investigate one of the most fundamental questions of the theatre - how does meaning get made? Bennett suggests that the key to unlocking theatrical meaning is exploring the tension between empirical and rational modes of understanding. The book concludes with an interview with performance artist Coco Fusco.
Edward Albee and Absurdism
In Edward Albee and Absurdism—the inaugural volume in the new book series, New Perspectives in Edward Albee Studies—Michael Y. Bennett has assembled an outstanding team of Edward Albee scholars to address Albee’s affiliation with Martin Esslin’s label, “Theatre of the Absurd,” examining whether or not this label is appropriate. From scholarly essays and lengthy review-essays to an important interview with the noted playwright and director, Emily Mann, the aim of this collection is to, at last, directly (and indirectly) confront Esslin’s label in regards to Albee’s plays in order to create a scholarly atmosphere that allows future Albee scholars to move on to new and, frankly, more relevant lines of inquiry. Contributors are: Michael Y. Bennett, Linda Ben-Zvi, David A. Crespy, Colin Enriquez, Lincoln Konkle, David Marcia, Dena Marks, Brenda Murphy, Tony Jason Stafford, and Kevin J Wetmore Jr.
Words, Space, and the Audience
Situating theatre in crucial moments in history and philosophy, Bennet reads four of the most influential plays through their contemporary epistemological debates between rationalism and empiricism.
Jack Gelber
Jack Gelber: Consider This explores the works of American playwright Jack Gelber (1932–2003), whose groundbreaking, immersive play The Connection (produced by The Living Theatre in 1959) served as the link between the Art Theatre/Beat Generation and the Off-Off-Broadway movement. With The Connection, Gelber provided a Pirandellian framework in which actors playing junkies demonstrated what it was like to wait for a fix. This play forever cemented Gelber’s status in the American theater, and yet his subsequent works have been overlooked. This study, the first monographlength work dedicated to Gelber’s plays, will consider Jack Gelber’s theatrical works as important social humanist abs...
Humor’s Privileged Access to Truth, Meaning, and Goodness
This book explores three connected insights into humor. First, that humor provides a privileged access to the deepest kind of truth, the sense as such of its topics and so of their very reality. It is argued that humor allows us to see things afresh and truly by flouting the sense of the things it deals with so enabling us to step outside of our taken for granted immersion in that sense. As a result, the character of the true sense stands out against the contrast of its nonsensical distortion. Second, that because of the way humor accesses truth, it also brings out the essential meaning of relevant value including the good and the worthwhile. Third, humor enables a privileged coordination and negotiation of profoundly conflicting truths and values. Humor’s access to truth is privileged both in its depth, even with respect to metaphysics, and also because it establishes the truth of what it shows. Humor’s Privileged Access to Truth, Meaning, and Goodness is essential reading for all scholars and researchers of the philosophy of humor.
