How did the events of the early modern period affect the way gender and the self were represented? This collection of essays attempts to respond to this question by analysing a wide spectrum of cultural concerns - humanism, technology, science, law, anatomy, literacy, domesticity, colonialism, erotic practices, and the theatre - in order to delineate the history of subjectivity and its relationship with the postmodern fragmented subject. The scope of this analysis expands the terrain explored by feminist theory, while (...) its feminist focus reveals that the subject is always gendered - although the terms in which gender is conceived and represented change across history. Feminist Readings of Early Modern Culture not only explores the representation of gendered subjects, but in its commitment to balancing the productive tensions of methodological diversity, also speaks to contemporary challenges facing feminism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Changing Theories of Undergraduate Theatre Studies, 1945–1980Anne Berkeley (bio)IntroductionThe history of theatre study in American undergraduate education is a story of prodigious quantitative success. Although it took two centuries to secure the right to perform plays at American colleges, it took only eighty years for the curriculum to grow from a few isolated courses at the turn of the twentieth century to well over 14,000 in (...) the 1970s.1 By far the steepest growth occurred during the unprecedented expansion of higher education between 1945 and 1979. But academic theatre's meteoric rise after the war years conceals more problematic qualitative achievements. Throughout its ascendancy, vexing questions persisted concerning the quality, standards, and evaluation of theatre programs. In academic journals and books, theorists explored with alacrity broad opportunities for educational theatre in the university. But they also bickered constantly about objectives and practices and their role in academe, ultimately providing a decidedly ambivalent assessment of accomplishment.According to Oscar G. Brockett, the fundamental questions are, What place, if any, should theatre have in a university? and, For what are students being educated?2 This study traces answers to these questions given by scholars and educators between 1945 and 1979.3 It explores the connections between the scholarship about theatre studies and the programs that developed, what scholars and educators wanted it to become, and what it became in the context of liberal arts education. These years are important because they are the golden age of higher education, a time of unprecedented expansion. Following World War II the G.I. Bill greatly increased student enrollment, and academic and research programs surged. At this time, the [End Page 57] university's governing interests were established by the politics of the Cold War, and the desire to surpass the Soviet Union at everything motivated the expansion of higher education.4 The National Defense Education Act of 1958 and the Higher Education Facilities Act of 1963 (legislation made possible by a prosperous economy) injected vast financial resources into program development, and federal programs such as the National Endowment for the Humanities (NEH) and the National Endowment for the Arts (NEA) were established.An earlier study of theatre curriculum between, roughly, the Civil War and the Second World War provides a useful background against which to interpret the data for this later period.5 From the earlier study we learn that academic theatre suffered from religious hostility for two centuries but that by the end of the nineteenth century there were extracurricular dramatic clubs and productions. The emergence of the modern research university brought with it the expansion and diversification of knowledge, the differentiation of the colonial college's general curriculum into discrete disciplines, and the departmentalization of the curriculum. As principles and aims for liberal arts education, and the bachelor of arts degree, began to take shape, reconstruction of the curriculum included the introduction of departments of speech and literature, which included dramatic curricula.6 Academic theatre first began in classical and later modern language departments as a way of teaching literature in another language; later speech and English departments added courses in oral interpretation and playwriting.After George Pierce Baker opened the theatre department at Yale in 1925, theatre became an autonomous field of study in increasing numbers of universities. During this early period several developments took place: curriculum for theatrical studies developed out of extra-curricular theatre, theatre was identified and justified as a humanistic study, the seeds were planted for the university's eventual role in nonprofit and professional regional theatres, and the study of theatre as a legitimate academic discipline was developed. During this period, too, most theorists argued that theatre was one of the liberal arts and should be taught as part of the humanities. Late in the period there developed a small but increasingly vocal group of scholars and teachers who began to argue that theatre departments should teach technical skills of theatrical performance as well as humanistic inquiry. Thus was born the so-called craft or culture dichotomy: should educational theatre emphasize the crafts of performance or the humanism that prevailed in general (unspecialized) liberal study?The Forties and Fifties: The Curriculum Diversifies... (shrink)

Open peer commentary on the article ““Black Box” Theatre: Second-Order Cybernetics and Naturalism in Rehearsal and Performance” by Tom Scholte. Upshot: Scholte’s attempt to link theatre studies with cybernetics faces at least two problems: historically, there could not have been any direct influence between these two fields; and conceptually, do we need second-order cybernetics, and the concept of the black box in particular, to account for the Stanislavski system?

영화의 탄생 이후 극장은 100여 년 넘는 시간동안 다양한 위기로부터 관객들이 극장에 발걸음이 끊이지 않도록 지켜왔다. 그러나 2020년, 코로나 바이러스로 인하여 전 세계 극 장의 대위기는 다시 찾아왔고, 누구나 손쉽게 접근 가능한 OTT(Over The Top)의 산업이 이 시기를 틈타 확장되면서 극장이라는 공간의 존폐까지 위협하고 있다. 극장이라는 공간 은 새로운 플랫폼으로 인하여 ‘절체절명의 위기’로부터 어떻게 극복할 수 있을 것인지, OTT 시대에 극장 발길을 멈춘 관객들을 어떻게 유입 시킬 수 있는지 극장관계자들은 고민 에 빠졌고, 이 것에 대한 대안과 방안을 극장가는 또 다시 (...) 모색하게 된다. 이러한 점에서 OTT 시대의 극장문화 의미와 그로인하여 극장이라는 공간이 어떻게 확장 가능한지 살펴 보았다. 이를 위해 OTT 등장으로 전통적 극장상영에 대한 인식변화는 어떠한지, 극장의 위기를 새로운 기술을 적용하여 관객 유입을 모색하면서 확장 가능한 지점은 무엇이 있는 지, 그리고 극장 스크린으로 만나는 공연문화콘텐츠의 확장 가능성의 사례는 무엇이 있는 지, 디지털 기술의 성장과 경계파괴에 대한 인식에 따라 공간 콘텐츠의 확장성이 있는지를 살펴보면서, OTT와 극장의 공생관계를 어떻게 만들어가야 하는지, 극장 위기에 따라 대처 하는 극장콘텐츠의 방향과, 경쟁력 있는 극장기술을 통해 새로운 공존의 시대로 계속 이어 갈 수 있는지, 극장의 미래를 점검할 필요가 있다. (shrink)

INTRODUCTION: CONSCIOUSNESS STUDIES AND "FIRST PERSON APPROACHES" The study of human consciousness has become suf.ciently mainstream over the last 10-15 years to make two journals, and numerous books by leading publishers such as OUP and MIT Press, commercially successful. The Center for Consciousness Studies at the University of Arizona in Tucson, USA, has led the.eld, with its large bi-annual conferences, and the British Psychological Association has approved new sections in Transpersonal Psychology" and "Consciousness and Experiential Psychology" as late (...) as 1997. (shrink)

During the late 60s and the beginning of the 1970s, the changes within the Communist Party which followed the death of Gheorghe Gheorghiu-Dej, the former Secretary General, led to a certain openness for culture and arts, from an ideological point of view. The so-called ideological “thaw” would not last more than 6 years, but it was needed all along in order for the new nomenklatura system of Ceauşescu’s generation to take over the rule of the state and of the party. (...) This is the broader context in which the relationship between the theatre repertories, the audience and the politics would develop further in a very insidious way. Facing a massive “peasantization of the working class” due to the regime’s investments in the industrial sector, the configuration of the urban population in Romanian cities had changed significantly. The inflow of poorly educated persons had a strong negative impact on the efforts to educate the urban population in the working-class socialist ethics. In this study we are profiling the beneficiaries of the cultural policies of the regime: What were their cultural background and their expectations regarding theatre and why did the authorities intervene in regulating the theatre market? (shrink)

Using William Shakespeare’s Hamlet and the play-within-the play, The Murder of Gonzago, as a case study, this essay argues that theatrical utterances constitute a special case of language usage not previously elucidated: the utterance of a statement with propositional content in theatre functions as an event. In short, the propositional content of a particular p (e.g. p1, p2, p3 …), whether or not it is true, is only understood—and understood to be true—if p1 is uttered in a particular time, (...) place, and situation (i.e. during a theatrical event); otherwise, the propositional content in those theatrical utterances can either be false or contingently true. (shrink)

Theatre & the Visual argues that theatre studies' preoccupation with problems arising from textual analysis has compromised a fuller, political consideration of the visual. Johnson examines the spectator's role in the theatre, exploring pleasure, difficulty and spectacle, to consider the implications for visual experience in the theatre.

It is the thesis of the paper that the arts of the twentieth century have gone much further in the criticism of customary modes of thought than have both the sciences and the various critical philosophies which exist today. Moreover, they have not only developed an abstract principle of criticism, they have also studied the psychological conditions under which criticism can be expected to become effective. Some plays and the theoretical essays of Ionesco are analysed as an example. It is (...) pointed out that Ionesco resembles Bacon in that he believes in an unchangeable basis of humanity from which all ideologies proceed. An attempt is made to free Ionesco from these dogmatic elements, theoretically, as well as practically (i.e. as regards the performance of his plays) and to utilize to the full his contributions to a theatre that is free of prejudice, and fully critical. (shrink)

I should like to begin this paper by thanking Anik Waldow for drawing my attention to a debate between Jean Jacques Rousseau and the philosophes about the proposal to build a theatre in Geneva, wit...

Context: The thoroughly second-order cybernetic underpinnings of naturalist theatre have gone almost entirely unremarked in the literature of both theatre studies and cybernetics itself. As a result, rich opportunities for the two fields to draw mutual benefit and break new ground through both theoretical and empirical investigations of these underpinnings have, thus far, gone untapped. Problem: The field of cybernetics continues to remain academically marginalized for, among other things, its alleged lack of experimental rigor. At the same (...) time, the field of theatre studies finds itself at an impasse between post-structuralist semioticians and embodied cognitivists regarding key onto-epistemological issues. A program of research framing and utilizing naturalist theatre as a second-order cybernetic/cybersemiotic laboratory holds much promise in addressing both matters and lending credence to Ross Ashby’s assertion that “the discovery that two fields are related leads to each branch helping in the development of the other.” Method: After establishing the nature of the onto-epistemological deadlock within theatre studies, this article examines the application of cybernetic heuristics within naturalistic theatre, leading to a second-order cybernetic analysis of its processes of production and reception and the outline of an experimental program for exploring these processes further. Results: Foundations for a model of naturalist theatre as a cybersemiotic laboratory grounded in a novel operationalization of Gordon Pask’s conversation theory. Implications: The proposed laboratory could result in the generation of quantitative and qualitative research pertaining to several dimensions of second-order cybernetics; particularly cybersemiotics, which, as a result, may end up better positioned to help dissolve onto-epistemological deadlocks between constructivists and realists of all stripes across the academy and beyond. Constructivist content: I argue that an analysis of naturalistic theatre’s processes of meaning-making filtered through the constructivist ontological agnosticism of second-order cybernetics offers a productive middle way forward for those on both sides of the social constructivist/embodied cognitive realist divide, within and beyond theatre studies. The article draws upon the works of Gregory Bateson, Søren Brier, Ranulph Glanville, Heinz von Foerster, and Niklas Luhmann. (shrink)

(1992). Community solidarity fees: A case study of Sabac national theatre. World Futures: Vol. 33, Culture and Development: European Experiences and Challenges A Special Research Report of the European Culture Impact Research Consortium (EUROCIRCON), pp. 61-66.

We’d like to do a little hypnosis on you. Imagine that you’re ensconced in your own family room, your study, or your queen-sized bed. Settling back, you pick up the remote, flick on the TV, and naturally you turn to PBS. This is what you hear:Host 1: Good evening. Welcome to Masterpiece Theatre. Because Alistair Cooke is away on assignment in Alaska, we’ve agreed to host the show tonight, and that’s both a pleasure and a privilege because our program (...) this evening marks the beginning of a fascinating new series, a first on television: Masterpiece Theatre will present you with a docudrama entitled “Masterpiece Theatre.”Host 2: Like “The First Churchills,” this show analyzes the situation of real-life people—tonight, people in the academy. Names have not been changed to protect either the innocent or the guilty, but all the situations are fictive and at times words that may never have been spoken are put into the mouths of people who did not speak them. Other lines, however, are direct quotations from various written sources, although none of the characters, as we depict them, should be confused with any “actual” persons, whether or not those persons would scribe to the idea of their own reality. Like “Upstairs/Downstairs,” this program will introduce you to a spectrum of characters from many walks of life. What’s different about tonight’s episode, though, is that all these characters have passionate opinions about the show itself. Why, the very idea of Masterpiece Theatre drives some of them to Guerrilla Theatre, others to Theatre of the Absurd. Yes, you’ve always already guessed it: we focus tonight on a drama involving what we used to call humanists—now for some a dirty word—and most of our characters are in deep trouble. Sandra M. Gilbert, professor of English at the University of California, Davis, and Susan Gubar, professor of English at Indiana University, are coauthors of No Man’s Land: The Place of the Woman Writer in the Twentieth Century, Volume 1: The War of the Words and Volume II: Sexchanges , the first installments of a three-part sequel to their Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination . They have also coedited The Norton Anthology of Literature by Women: The Tradition in English. (shrink)

The relationship between philosophy and theatre is a central theme in the writings of Plato and Aristotle and of dramatists from Aristophanes to Stoppard. Where Plato argued that playwrights and actors should be banished from the ideal city for their suspect imitations of reality, Aristotle argued that theatre, particularly tragedy, was vital for stimulating our emotions and helping us to understanding ourselves. Despite this rich history the study of philosophy and theatre has been largely overlooked in contemporary (...) philosophy. This is the first book to introduce philosophy and theatre. It covers key topics and debates, presenting the contributions of major figures in the history of philosophy, including: what is theatre? How does theatre compare with other arts? theatre as imitation, including Plato on mimesis truth and illusion in the theatre, including Nietzsche on tragedy theatre as history theatre and morality, including Rousseau’s criticisms of theatre audience and emotion, including Aristotle on catharsis theatre and politics, including Brecht’s Epic Theatre. Including annotated further reading and summaries at the end of each chapter, Philosophy and Theatre is an ideal starting point for those studying philosophy, theatre studies and related subjects in the arts and humanities. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:220 THEATRE AND RELIGIOUS HYPOTHESIS* We are placed in this world, as in a great theatre, where the true springs and causes of every event are entirely concealed from us.... David Hume La collection des idées s'appelle imagination, dans la mesure où celleci désigne, non pas une faculté, mais un ensemble des choses, au sens le plus vague du mot, qui sont ce qu'elles paraissent: collection sans (...) album, pièce sans théâtre, ou flux des perceptions.. Gilles Deleuze In Part III of Hume's Dialogues concerning Natural Religion the character Demea contests the analogy drawn by Cleanthes between an orderly world and a coherent, articulate speech, stating that, When I read a volume, I enter into the mind and intention of the author: I become him, in a manner, for the instant; and have an immediate feeling and conception of those ideas, which revolved in his imagination, while employed in that composition. To begin reading Hume's Dialogues with such false and naive premises would inevitably result in a failure to pick up on all the different voices in this text. In fact, no written text can really enable a reader "to enter into the mind and intention of the author." Moreover, such a predisposition on behalf of a naive reader will become further complicated by the processes of 'distanciation' and avoidance of a central point of view, which are brought into play by Hume in this text, where religion is being considered from a purely speculative point of view. Hume has in fact given the reader a clue in the introduction as to how 221 to approach reading the Dialogues. when Pamphilus, the narrator, expounds to his friend Hermippus the advantages of presenting a discussion in the form of a dialogue rather than as a direct statement. He argues that by using a dialogue it is possible to avoid any overtones of an author addressing his reader, or a pedagogue his pupil (D 127). Confronted with a text that is paradoxically both lucid and unclear, any reader whose attitude is still limited by certain metaphysical categories might very well want to know who is actually Hume's spokesman and who he is really addressing in this discussion on the nature and existence of God. These questions are in fact related to traditional oppositions, such as that between a central and subsidiary point of view in a dialogue; between the essential and non-essential of a discussion. In his Dialogues, Hume creates a second degree of separation between himself and the characters involved in the discussion by using the literary process of 'distanciation', when he introduces the fictitious character Pamphilus, who tells Hermippus of the discussions he has heard. From this point of view the style of the text is immediately more disconcerting than Cicero's De Natura Deorum, (which inspired Hume's text), as Cicero does identify himself with his narrator, such that any effect of distanciation is far smaller. Cicero's narrator does, however, emphasize that the multiplicity of points of view in this text results in a certain degree of scepticism and suspension of judgement: "Though it is possible that they are all of them false, it is impossible that more than one of them is true" (p. 71). As Hume does in his Dialogues, Cicero here tries to avoid imposing a 222 central point of view or a single authoritative angle to his discussions, as if given by a teacher; in fact, "in a discussion of this kind our interest should be centred not on the weight of the authority but on the weight of the argument" (p. 73). Thus, wearing the mask of Pamphilus, Hume can play an ironic role, without having to give a central point of view, by having his character present the idea that "reasonable men may be allowed to differ, where no one can reasonably be positive" (D 128). These two texts therefore use the same process of disassociation from a central truth by using a supposedly neutral narrator. When reading the Dialogues one can rely neither on the authority of the author, as he has hidden himself away in the shadows backstage, nor on that... (shrink)

Over the past 30 years, the Australian state of Victoria has made numerous reforms to a set of jury directions purporting to address concerns that rape trials do not adequately respond to the reality of sexual offending in the community. Building on work identifying the predominant narratives mobilised in rape trials, in this article we consider whether the way in which a jury consumes information during a trial explains why the jury directions, positioned and utilised as they are, appear to (...) have been inadequate to the task of enabling juries to re-imagine evidence through alternative narrative frameworks. (shrink)

Although utopian and dystopian elements are a prominent characteristic of twenty-first-century British plays, there is still a significant research gap on these works, as the conference's organizers, Merle Tönnies and Eckart Voigts, pointed out in their introductory remarks. Bringing together drama and theatre studies, cultural studies, and political sciences/sociology, Tönnies and Voigts agreed to convene a conference to address this topic in an interdisciplinary and comprehensive manner. It was originally intended to take place at the Centre for (...) Interdisciplinary Research at the University of Bielefeld in April 2020, which would have provided a space to bring together not only different... (shrink)

This book, the first of its kind, surveys the career of the renowned Australian-German theatre and opera director Barrie Kosky. Its nine chapters provide multidisciplinary analyses of Barrie Kosky’s working practices and stage productions, from the beginning of his career in Melbourne to his current roles as Head of the Komische Oper Berlin and as a guest director in international demand. Specialists in theatre studies, opera studies, musical theatre studies, aesthetics, and arts administration offer (...) in-depth accounts of Kosky’s unusually wide-ranging engagements with the performing arts – as a director of spoken theatre, operas, musicals, operettas, as an adaptor, a performer, a writer, and an arts manager. Further, this book includes contributions from theatre practitioners with first-hand experience of collaborating with Kosky in the 1990s, who draw on interviews with members of Gilgul, Australia’s first Jewish theatre company, to document this formative period in Kosky’s career. The book investigates the ways in which Kosky has created transnational theatres, through introducing European themes and theatre techniques to his Australian work or through bringing fresh voices to the national dialogue in Germany’s theatre landscape. An appendix contains a timeline and guide to Kosky’s productions to date. (shrink)

Using the Lao PDR as a case study, this paper analyses human trafficking as discourse. Human trafficking is identified as a global discourse that is globalized through a set of powerful relations and actors. Following Appadurai, it is argued that this global discourse is not passively received by local actors such as the Lao state. This demonstrated by unravelling the global–local interactions through which it has entered the Lao social landscape. This is complemented with an analysis of a series of (...) events in which the human trafficking discourse is staged on Lao soil. On this basis, the paper argues that the global human trafficking discourse is actively indigenized through, amongst other things, the social practice of staging. In addition, the paper argues that this indigenized discourse is employed by actors in more localized power struggles; in this case, by the Lao state as a response to boundary crises triggered by the phenomenon of cross-border migration into Thailand as an important manifestation of the overarching process of transition. (shrink)

In view of the enormous and expanding body of literature on Sartre the best one might expect of a new study would be a profound new insight or a significant new systemization of existing insights; the worst would be either a rehash of old opinions or a deliberate effort to be ‘new’ at all costs If Mrs McCall’s book falls somewhat short of the first category she certainly avoids most of the pitfalls of the second.

Can we make progress exploring consciousness? Or is it forever beyond human reach? In science we never know the ultimate outcome of the journey. We can only take whatever steps our current knowledge affords. This paper explores today's evidence from the viewpoint of Global Workspace theory. First, we ask what kind of evidence has the most direct bearing on the question. The answer given here is ‘contrastive analysis’ -- a set of paired comparisons between similar conscious and unconscious processes. This (...) body of evidence is already quite large, and constrains any possible theory . Because it involves both conscious and unconscious events, it deals directly with our own subjective experience, as anyone can tell by trying the demonstrations in this article. (shrink)

We would like to thank Dolega and Dewhurst for a thought-provoking and informed deconstruction of our article, which we take as applause from valued members of our audience. In brief, we fully concur with the theatre-free formulation offered by Dolega and Dewhurst and take the opportunity to explain why we used the Cartesian theatre metaphor. We do this by drawing an analogy between consciousness and evolution. This analogy is used to emphasize the circular causality inherent in the free (...) energy principle. We conclude with a comment on the special forms of active inference that may be associated with selfawareness and how they may be especially informed by dream states. (shrink)

In recent years, criticism of Slavoj Žižek has intensified at a frantic pace, to the extent that he has all but been erased from the public sphere. Alongside his exclusion from dominant media-platforms such as The Guardian and the The New York Times, the denunciation of his work by the academic community has reached an excessive level, with thinkers such as Noam Chomsky seeking to undermine the empirical validity of his thought in a surprisingly personalized manner.

Richard Wagner has come to be seen as the quintessential artist of the nineteenth century, whose work embraces all the arts of the period. Dieter Borchmeyer here provides the first systematic and comprehensive account of Wagner's aesthetic theory, examining his hitherto neglected prose writings and his ideas on music drama from the various standpoints of literature, the linking of ideas, and the sociology of art. The pre-eminent importance for Wagner of classical Greek art and mythology emerges with particular clarity, while (...) his links with the great figures and forms of world theatre - Shakespeare, the commedia dell'arte, the popular theatre, and the puppet theatre - are traced in detail. The influence on Wagner of the historical and social novel is also discussed. The author provides the first comprehensive analysis of Cosima Wagner's Diaries, and throws unexpected sidelights on Wagner's relationship with Nietzsche, in particular his important contribution to Nietzsche's The Birth of Tragedy. Central to the present study are Wagner's music dramas from Die Feen to Parsifal. These are examined in their literary, ideological, and socio-political contexts. First published in German in 1982, this book has become established as a standard work of Wagner scholarship, and now appears for the first time in English in a completely revised edition incorporating a number of new chapters on the music dramas. (shrink)

Theater rehearsals are (usually) confronted with the problem of having to transform a written text into an audio-visual, situated and temporal performance. Our contribution focuses on the emergence and stabilization of a gestural form as a solution for embodying a certain aesthetic concept which is derived from the script. This process involves instructions and negotiations, making the process of stabilization publicly and thus intersubjectively accessible. As scenes are repeatedly rehearsed, rehearsals are perspicuous settings for tracking interactional histories. Based on videotaped (...) professional theatre interactions in Germany, we focus on consecutive instances of rehearsing the same scene and trace the interactional history of a particular gesture. This gesture is used by the director to instruct the actors to play a particular aspect of a scene adopting a certain aesthetic concept. Stabilization requires the emergence of shared knowledge. We will show the practices by which shared knowledge is established over time during the rehearsal process and, in turn, how the accumulation of knowledge contributes to a change in the interactional practices themselves. Specifically, we show how a gesture emerges in the process of developing and embodying an aesthetic concept, and how this gesture eventually becomes a sign that refers to and evokes accumulated knowledge. At the same time, we show how this accumulated knowledge changes the instructional activities in the rehearsal process. Our study contributes to the overall understanding of knowledge accumulation in interaction in general and in theater rehearsals in particular. At the same time, it is devoted to the central importance of gestures in theater, which are both a means and a product of theatrical staging. (shrink)

This pioneering study harnesses virtual reality to uncover the history of five venues that have been 'lost' to us: London's 1590s Rose Theatre; Bergen's mid-nineteenth-century Komediehuset; Adelaide's Queen's Theatre of 1841; circus tents hosting Cantonese opera performances in Australia's goldfields in the 1850s; and the Stardust showroom in 1950s Las Vegas. Shaping some of the most enduring genres of world theatre and cultural production, each venue marks a significant cultural transformation, charted here through detailed discussion of theatrical (...) praxis and socio-political history. Using virtual models as performance laboratories for research, Visualising Lost Theatres recreates the immersive feel of venues and reveals performance logistics for actors and audiences. Proposing a new methodology for using visualisations as a tool in theatre history, and providing 3D visualisations for the reader to consult alongside the text, this is a landmark contribution to the digital humanities. (shrink)

While many authors have theorized about the ability of the humanities to enhance business ethics education, scant empirical work exists to support this speculation. We therefore conduct a study to measure the impact of a live theatre performance on ethical reasoning. We asked students to analyze an ethically-laden historical disaster scenario both before and after attending a performance featuring related narrative themes. Our hypothesis is that attending a live performance would cause students to take a more ethical view of (...) an industrial disaster case study. Results show support for the notion that live theatre may impact individuals’ ethical decision-making as applied to a representative business case. Specifically, we found a significant difference in what parties students hold responsible, what actions students think should have been taken, and how cultural norms affect students’ perceptions of ethical obligations. We therefore suggest that live theatre may be a novel pedagogical tool in business ethics education. (shrink)

Scanning the corpus and repertoire of anthropological science, insofar as we wish and are able to, we note that ethnological observations and studies on theatre are not lacking, but that they seem to have been isolated opportunities for investigation that have never grown into a research tradition.

Richard Wagner has come to be seen as the quintessential artist of the nineteenth century, whose work embraces all the arts of the period. Dieter Borchmeyer here provides the first systematic and comprehensive account of Wagner's aesthetic theory, examining his hitherto neglected prose writings and his ideas on music drama from the various standpoints of literature, the linking of ideas, and the sociology of art. The pre-eminent importance for Wagner of classical Greek art and mythology emerges with particular clarity, while (...) his links with the great figures and forms of world theatre - Shakespeare, the commedia dell'arte, the popular theatre, and the puppet theatre - are traced in detail. The influence on Wagner of the historical and social novel is also discussed. The author provides the first comprehensive analysis of Cosima Wagner's Diaries, and throws unexpected sidelights on Wagner's relationship with Nietzsche, in particular his important contribution to Nietzsche's The Birth of Tragedy. Central to the present study are Wagner's music dramas from Die Feen to Parsifal. These are examined in their literary, ideological, and socio-political contexts. First published in German in 1982, this book has become established as a standard work of Wagner scholarship, and now appears for the first time in English in a completely revised edition incorporating a number of new chapters on the music dramas. (shrink)

Throughout his cinema studies, Deleuze tends to define and to praise the cinematic in opposition to the theatrical. Cinema, for Deleuze, retains the potential to automate our perception of its images. Further, this capacity allows the cinema to profoundly disrupt the habitual patterns of its audience's thought. This article asks, however, whether Beckett's theatrical practice can be productively analysed through concepts derived from Deleuze's work on the cinema. In Beckett's Play and Not I, we see theatrical productions that strive (...) for and attain an automation of their audience's perception. While this theatrical experience is not identical to the ‘camera-consciousness’ that Deleuze observes in film, it can be understood through Deleuze's (Bergsonian) processes of habitual and attentive recognition, their failure and their subsequent transformation into passages of crystalline description. Finally, we can begin to elaborate the novel idea of a ‘crystal-theatre’; a theatre where the audience are entrapped within its construction, caught in a loop or circuit that runs between and complicates the realms of reality and illusion, immediately lived experience and artistic representation, the actual and the virtual. (shrink)