What is the secret DNA of theatre? What makes it unique? Why was it invented? Why does it persist? In an age when many studies are concerned with the `how¿ of theatre, this work returns us to theatre¿s essential `why¿. The Secret Life of Theatre suggests that by reframing the question, we can re-enchant this ever-vital medium of expression.
What is the secret DNA of theatre? What makes it unique? Why was it invented? Why does it persist? In an age when many studies are concerned with the `how¿ of theatre, this work returns us to theatre¿s essential `why¿. The Secret Life of Theatre suggests that by reframing the question, we can re-enchant this ever-vital medium of expression.
Brian Kulick was the Artistic Director of Classic Stage Company and former Artistic Associate at The Public Theatre. He has staged the works of Shakespeare, Brecht, and Tony Kushner. He teaches theater directing at Columbia University¿s School of the Arts with Anne Bogart.
Inhaltsangabe
IN PRAISE OF NOT KNOWING: AN INTRODUCTION 1 What we can know about the origins of theater, which is always less than we would like, and yet not grounds for despair 2 How great works work against our desire to know, and why the question should always exceed the answer 3 The problem with thinking we know a thing or two: or the rise of the answer at the expense of the question 4 The special providence of certain questions: or the necessity for the re-enchantment of theater PART ONE: THE INVENTION OF OUTSIDE: ON THE NATURE AND FUNCTIONS OF THEATER 5 Borges and theater: what the great Argentine poet can tell us about the secret life of theater 6 Beneath Averroes' window: Borges' first clue; the family resemblance of play, ritual, and theater 7 The story of Abu-al-Hasan and the house of painted wood: or Borges' second clue, the ascension of the ocular 8 From the mimetic to the meta-theatric: the four modalities of theatrical expansion 9 The Companions of the Cave: Borges' third clue, on the necessity of thresholds 10 Anatomy of failrue: why the machine of theater breaks down 11 Recapitulation #1: or toward the what of theater PART TWO: NINE AND A HALF TABLEAUX: ON THEATER S EK-STATIC ABILITY TO BRING WHAT IS HIDDEN INTO VIEW 12 Welcome to the Museum of Ek-stasis: or when things "stand out" in theater 13 Exhibit one: Agamemnon redux: the optics of the tragic 14 Exhibit two: Abraham and Isaac: difference, variance, and making time manifest 15 Exhibit three: Romeo and Juliet: love and other spatial relations 16 Exhibit four: The Winter's Tale: seeing being 17 Exhibit five: Tartuffe: the not-so-secret life of inanimate objects 18 Exhibit six: Faust: the persistence of allegory 19 Exhibit seven: Woyzeck: reading other inds, or the discovery of subtext 20 Exhibit eight: The Three Sisters: the invention of the pause and intimations of the void 21 Exhibit nine: Galileo: "making strange": the fine art of seeing otherwise 22 Exhibit under construction: Angels in America: seeing double 23 Recapitulation #2: or toward the how of theater PART THREE: FROM SOPHOCLES URN TO WITTGENSTEIN S BOX: THEATER AND THE ENGENDERING OF FELLOW-FEELING THROUGHOUT THE AGES 24 Brief introduction: theater;s telos: the engendering of fellow-feeling 25 The ancients 26 The transition 27 The moderns 28 And now? 29 Recapitulation #3: or toward the why of theater 30 Final thoughts on fellow-feeling and the meaning of theater
IN PRAISE OF NOT KNOWING: AN INTRODUCTION 1 What we can know about the origins of theater, which is always less than we would like, and yet not grounds for despair 2 How great works work against our desire to know, and why the question should always exceed the answer 3 The problem with thinking we know a thing or two: or the rise of the answer at the expense of the question 4 The special providence of certain questions: or the necessity for the re-enchantment of theater PART ONE: THE INVENTION OF OUTSIDE: ON THE NATURE AND FUNCTIONS OF THEATER 5 Borges and theater: what the great Argentine poet can tell us about the secret life of theater 6 Beneath Averroes' window: Borges' first clue; the family resemblance of play, ritual, and theater 7 The story of Abu-al-Hasan and the house of painted wood: or Borges' second clue, the ascension of the ocular 8 From the mimetic to the meta-theatric: the four modalities of theatrical expansion 9 The Companions of the Cave: Borges' third clue, on the necessity of thresholds 10 Anatomy of failrue: why the machine of theater breaks down 11 Recapitulation #1: or toward the what of theater PART TWO: NINE AND A HALF TABLEAUX: ON THEATER S EK-STATIC ABILITY TO BRING WHAT IS HIDDEN INTO VIEW 12 Welcome to the Museum of Ek-stasis: or when things "stand out" in theater 13 Exhibit one: Agamemnon redux: the optics of the tragic 14 Exhibit two: Abraham and Isaac: difference, variance, and making time manifest 15 Exhibit three: Romeo and Juliet: love and other spatial relations 16 Exhibit four: The Winter's Tale: seeing being 17 Exhibit five: Tartuffe: the not-so-secret life of inanimate objects 18 Exhibit six: Faust: the persistence of allegory 19 Exhibit seven: Woyzeck: reading other inds, or the discovery of subtext 20 Exhibit eight: The Three Sisters: the invention of the pause and intimations of the void 21 Exhibit nine: Galileo: "making strange": the fine art of seeing otherwise 22 Exhibit under construction: Angels in America: seeing double 23 Recapitulation #2: or toward the how of theater PART THREE: FROM SOPHOCLES URN TO WITTGENSTEIN S BOX: THEATER AND THE ENGENDERING OF FELLOW-FEELING THROUGHOUT THE AGES 24 Brief introduction: theater;s telos: the engendering of fellow-feeling 25 The ancients 26 The transition 27 The moderns 28 And now? 29 Recapitulation #3: or toward the why of theater 30 Final thoughts on fellow-feeling and the meaning of theater
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