This chapter contains section titled: Enactment: Something Spectators and Performers do The Crucial Concept: “Attending to Another” What it is to “Occasion” Responses Audience Responses: Willing Suspension of Disbelief, Acquired Beliefs, or Acquired Abilities Relativizing the Account by Narrowing its Scope to Narrative Performances.

In lieu of an abstract, here is a brief excerpt of the content:Basic Theatrical Understanding: Considerations for James HamiltonNoël Carroll (bio)The publication of The Art of Theater by James Hamilton is a seminal event in the philosophy of theater.1 As the first book-length study of theater in the analytic tradition of philosophy, it will be a touchstone for many years of future discussion and debate. Anyone interested in the philosophy of theater will need to address Professor Hamilton’s accomplishment.The leading (...) idea in The Art of Theater is that theatrical performance is an independent art form. That is, theatrical performance, as such, is not, as Aristotle suggested by his demotion of spectacle, a mere adjunct to literature, or essentially a medium for illustrating dramatic and comedic texts. Theatrical performance itself is an art in its own right. This view of theater art has been increasingly apparent in the practices of modern theater in the West, but these practices—as exemplified by Gordon Craig, Vsevolod Meyerhold, Jacques Copeau, Bertolt Brecht, Antonin Artaud, Jerzy Grotowski, and, more recently, Robert Wilson—merely revealed what has always been the case: that theater is at root a performing art.Although for centuries theater in the West had been conceptualized as a text-based art, Hamilton maintains that this tradition is local. Theatrical performances in other cultures need not be the enactment of antecedently written-out texts. Furthermore, even within Western culture, most of us see and discuss plays without ever reading the texts upon which they are based. Hamilton takes these facts to support his view that theatrical performance is an autonomous art form. Among other things, this means that the critical model that presumes that the success of a theatrical performance must be assessed against the effectiveness of its implementation of the pertinent preexisting literary text is a misguided one. Although a preexisting literary text may be an ingredient in the production of a theatrical performance, fidelity to the aforesaid text is not mandated by the art of theater. [End Page 15]Insofar as theatrical performance is an art in its own right, it may—and quite clearly, as in the cases of the Performance Group, Kraken, Mabou Mines, etc., often does—adapt written texts for its own purposes. Moreover, refashioning the text, where there is one, is not simply an avant-garde practice; most productions edit the text for their own purposes. Kenneth Branagh’s Hamlet, which omitted no word from the accepted version of the text, was the exception to the rule. Thus, what Hamilton calls the ingredients model of the relation of texts to theatrical performances has the advantage on its side of better corresponding to actual practices, as compared to the notion that a theatrical performance is to be understood as a matter of bringing a literary text to life.Of course, one apparent advantage that the text-implementation model of theatrical performance might seem to possess is that it appears to have a way ready-to-hand for identifying theatrical performances. Gielgud’s performance, Olivier’s performance, and Burton’s performance are, ex hypothesi, all performances of Hamlet because they are all performances of Shakespeare’s text to which they all roughly comply. If, following Hamilton, we sever the relationship to the play-text, how can we account for the way in which we identify theatrical performances?2 That is, independently of reference to texts, how do we identify a theatrical performance as another instance of Hamlet?In order to solve this problem, Hamilton introduces the idea of “a basic understanding” of a theatrical performance. The basic understanding of a theatrical performance is, on Hamilton’s account, said to involve no more than comprehending on a moment-to-moment basis the ongoing bits of dialogue and stage action as they evolve, as well as understanding the transitions from one scene to another while also responding physically in a suitable manner to the evolving story (for example, laughing where laughter is appropriate) or emoting responsively to what is happening onstage. So, one has a basic understanding of a scene if, when the Musketeer says “On guard,” the spectator takes this to be an invitation to a duel; and when a rival character draws his sword, the... (shrink)

In this article I build on recent critiques of theological accounts of the eucharistic which overextend the practice's potential to form a Christian ethic and alternative polis. In analysing these critiques, often drawing on historical and contemporary cases of Christian malformation and its basis in liturgical practice, I suggest a greater distinction is needed between the practice's ability to raise political consciousness and the necessity of separate material political action. I approach this reconfiguration through appeal to debates on the political (...) efficacy and responsibility of art, focusing in particular on contemporary German theatre director, Thomas Ostermeier and his influential production of Henrik Ibsen's An Enemy of the People. Ostermeier distinguishes theatrical performance from material politics, while still demonstrating how theatre might enact a repoliticisation, provoking audiences to think beyond the story on stage to the world beyond where they live and try to act. Connecting the theological critiques with Ostermeier's work, I offer three areas in which a reconfiguration of the relationship between the Eucharist and Christian ethics might focus: depristinising in practice, disrupting catharsis, and being sent. These theatrical interventions allow for clearer recognition of the practice's ethical and political limits and potential. (shrink)

Collaborative research practices in the field of plant genetic resources must follow the principles of fairness and equity as defined in the Convention on Biological Diversity (CBD) and in the International Treaty on Plant Genetic Resources for Food and Agriculture (ITPGRFA). In this context the concepts of fairness and equity generally refer to the substantive and procedural dimensions associated with sharing the benefits of this research. But neither term is clearly defined by these international treaties, and the meanings attributed to (...) the concepts vary among different societies. This paper looks at the question of how to account for the diversity among value systems when conducting research that implicates diverse stakeholders and respects the requirements of fairness and equity. We incorporated an auto-ethnography method developed as part of a multi-stakeholder network involved in research projects on plant genetic resources in West Africa. A theatrical device was used as a framework for testing the principles of fairness and equity, helping us to collectively identify feelings of injustice, and explore the conditions for making collaborative research practices more ethical in ways that respect the perspectives of different stakeholders. In an environment of extensive political and socio-cognitive inequality, this approach makes it possible to explain the criteria relating to interactional justice and expectations in terms of socio-political and socio-emotional benefits. It also invites us to consider the principles of fairness and equity in a framework of ethical competence that goes beyond international directives. (shrink)

Prologue. Setting up the stage : "beauty is in the street" in Istanbul -- Democratic action, spontaneity, and the intermediating practices of political friendship -- Jean-Jacques Rousseau : from the unsettling reality of the theater to the dream of immediacy -- Antonio Negri : insurgencies, the multitude, and the search for permanence -- Jürgen Habermas : embracing transience, containing unpredictability -- Jacques Rancière : the theatrical paradigm and the messiness of democratic politics -- Enacting political friendship in Gezi -- (...) Epilogue. Fanning the spark of hope. (shrink)

The notion of the Gesamtkunstwerk as a modern political phenomenon – the merging of art and life and the artistic transformation of life in its totality – has been limited to public political spectacle and the theatrical enactments of state programs. In contrast, this article about the Soviet 1920s and 1930s looks at everyday life or, in Russian, byt, as the primary domain of modern aesthetico-political intervention. The successful ordering of everyday life according to the principles of communism would (...) mean that even the most intimate aspects of citizens’ lives become part of a total work of art, which now encompasses not only the public but also the private sphere. The author traces the evolution of byt reform from the aesthetic associations between bureaucrats and artists of the 1920s to the 1930s mobilization of ordinary citizens as artists who mould their everyday environments in accordance with Stalinist politics. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Scrutinizing the Art of TheaterAaron Meskin (bio)IntroductionIn his 1992 address to the American Society for Aesthetics, Peter Kivy suggested that philosophers of art might do best by giving up on “grand theorizing” (that is, pursuing the definition of art).1 In its place he proposed that they pursue the “careful and imaginative philosophical scrutiny of the individual arts and their individual problems.”2 Of course John Passmore and others had said (...) similar things at earlier points,3 but philosophical aesthetics has, it seems to me, finally and robustly taken the turn toward the philosophies of the arts. Much of the best work in philosophical aesthetics over the last fifteen years or so has pursued the route Kivy suggested. James Hamilton’s The Art of Theater is part of this turn—it is careful and imaginative scrutiny of the art of theater done at the very highest level, and I am delighted to have this opportunity to comment on it.4In what follows I shall address a number of issues raised by Hamilton’s work: the definition of theatrical enactment; the place of pretending and imagining in theatrical performance; the nature of Hamilton’s “ingredients model” and its relation to more traditional accounts of the work/performance relation; the account of theatrical style on offer; and the question of what we have learned from experimental theater.But before I move on to address those aspects of the book’s content in detail, let me say something about the pedagogical significance of this work. Although there are a number of legitimate ways to teach introductory courses on aesthetics and the philosophy of art (for example, by following a historical progression or by structuring it around certain key issues), one increasingly attractive option is to teach a course that focuses on those aforementioned individual arts and their individual problems. So, for example, I used to regularly teach graduate seminars in aesthetics to students enrolled [End Page 51] in a fine arts doctoral program. These students studied music, art education, the visual arts, theater, and dance; the seminars were designed to provide them with a broad foundation in philosophical aesthetics. Since they typically had no background in philosophy, I made the effort to assign readings and topics relevant to their own artistic practices and interests. Providing them with contemporary cutting-edge philosophical material on music and the visual arts was not hard. Kivy’s work, as well as that by Jerrold Levinson, Arthur Danto, Richard Wollheim, and others, makes that fairly easy. And intriguingly—since philosophers are commonly said to have ignored the art of dance—there’s even a decent amount of recent philosophical work on that art form by such authors as Graham McFee, Frances Sparshott, and Noël Carroll and Sally Banes.5 But where to turn to for the theater students? I would often read some of Aristotle’s Poetics with them, but I have to admit that the serious students of the theater that I encountered in those seminars typically knew that text much better than I did. (Still, I hope I challenged their breezy assumptions about catharsis!) We would read Hume on tragedy together—fun, but not really so much about the theater—and sometimes a bit of Nietzsche. But there was never much to give them from contemporary philosophers on the subject—a few articles here and there, of course, but nothing that clearly laid out the big and distinctive issues that the art form of theater raises. Nothing, to put the point a bit differently, that would provide any evidence that there really was a lively and extant philosophy of theater out there, as there are lively and extant philosophies of film, music, literature, and photography. In short, for those attracted to the prospect of teaching aesthetics as the philosophies of arts, the dearth of good work on theater by contemporary philosophers has been a significant source of frustration and even a bit of an embarrassment.The book in question is not the only recent philosophical work on theater. There are fine articles on the topic by David Osipovich, David Saltz, and Paul Woodruff, among others. Hamilton himself has a string of... (shrink)

Although an elusive concept, "camp" can be found in most forms of artistic expression, revealing itself through an aesthetic of deliberate stylization. Fashion is one of the most overt and enduring conduits of the camp aesthetic. As a site for the playful dynamics between high art and popular culture, fashion both embraces and expresses such camp modes of enactment as irony, humor, parody, pastiche, artifice, theatricality, and exaggeration. Drawing from Susan Sontag's seminal essay "Notes on 'camp,'" the book explores (...) how fashion designers have used their metier as a vehicle to engage with the camp aesthetic in compelling, humorous, and sometimes incongruous ways. As a sartorial manifestation of the camp sensibility, this thought-provoking publication contributes new theoretical and conceptual insights into the camp canon through texts and images. Stunning new photography by Johnny Dufort highlights works by such fashion designers as Virgil Abloh, Thom Browne, Jean-Charles de Castelbajac, John Galliano, Jean Paul Gaultier, Marc Jacobs, Karl Lagerfeld, Alessandro Michele, Franco Moschino, Miuccia Prada, Richard Quinn, Yves Saint Laurent, Elsa Schiaparelli, Jeremy Scott, Anna Sui, Gianni Versace, and Vivienne Westwood. (shrink)

Something extraordinary has happened to metaphysics. At the very moment when philosophy is focusing its efforts at bringing metaphysics to an ‘end,’ metaphysics finds itself flourishing in the theatre, which speaks of itself as ‘metaphysics-in-action’ and publishes treatises carrying such titles as The Act of Being: Toward a Theory of Acting. The irony of the situation appears to have been lost on postmodern philosophers. What this paper sets out to do is explore the potential consequences of the metaphysical weight that (...) has been acquired by the theatre for the practice of philosophy. It argues that the theatrical performance is in fact an ‘enactment’ of the performance of being and that, as such, it is possible to extend our understanding of this performance from the theatrical stage to the ‘theatre of the world.’ Finally, in doing so, we can establish the context for a metaphysics that does not privilege presence. (shrink)

Something extraordinary has happened to metaphysics. At the very moment when philosophy is focusing its efforts at bringing metaphysics to an 'end,' metaphysics finds itself flourishing in the theatre, which speaks of itself as 'metaphysics-in-action' and publishes treatises carrying such titles as The Act of Being: Toward a Theory of Acting. The irony of the situation appears to have been lost on postmodern philosophers. What this paper sets out to do is explore the potential consequences of the metaphysical weight that (...) has been acquired by the theatre for the practice of philosophy. It argues that the theatrical performance is in fact an 'enactment' of the performance of being and that, as such, it is possible to extend our understanding of this performance from the theatrical stage to the 'theatre of the world.' Finally, in doing so, we can establish the context for a metaphysics that does not privilege presence. (shrink)

Shakespeare 's A Midsummer Night's Dream shows ethical conflicts to be resolved relationally. Quarreling lovers divide Duke Theseus's Athenian court in advance of his own nuptial celebration, forcing the Duke to decide moral questions based on their ethical consequences. King Oberon's conflicted fairy world meddles in human affairs, adding to the ethical confusion. Athenian workmen vie for roles in a court performance that becomes both a theatrical travesty and a triumph of relational ethics owing to Bottom, the character most (...) within relation itself. Paradoxically, the “dream” elevates relating per se to self-consciousness. Hegel's dialectical, Jean-Luc Nancy's transfiguring, and Martin Buber's relational perspectives take up Shakespeare 's premise of treating ontology and ethics as facets of the same movement. Just as the play enacts Hegel's assertion that all alienation must be overcome, so it also shows Nancy's and Buber's symbolic consecration of ethical being as mutuality. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:From Children's Perspectives:A Model of Aesthetic Processing in TheatreJeanne Klein (bio)Since the children's theatre movement began, producers have sought to create artistic theatre experiences that best correspond to the adult-constructed aesthetic "needs" of young audiences by categorizing common differences according to age groups. For decades, directors simply chose plays on the basis of dramatic genres (e.g., fairy tales), as defined by children's presupposed interests or "tastes," by subscribing to (...) Winifred Ward's broad descriptions of the "imaginative period" (ages six to nine), the "heroic period" (ages nine to twelve), and the "romantic period" (over age thirteen).1 Years later, Moses Goldberg elaborated upon these generalized divisions while cautioning that "no individual fits exactly into any set of categories."2 In his position paper on aesthetic development, he argued for individual access to aesthetic techniques, processes, and products for all ages, paralleled by four stages of cognitive capabilities, based on exposure to (1) arena-style participation theatre (for ages five to eight), which emphasizes story enactments; (2) a wide range of proscenium-style theatrical conventions; (3) relevant play content that directly relates characters' problems to spectators' lives and growing self-awareness; and (4) social issue plays that pose ethical dilemmas as cultural reflections.3 Meanwhile, Jed Davis compiled Age Group Profiles, organized by cognitive, spatial, emotional, and moral/ethical development, from his review of Piagetian literature; and Johnny Saldaña summarized stages of young interpretations of theatre from his seven-year longitudinal study.4Suffice it to say, the field of developmental psychology has come a long way since Piaget formulated his four constructivist stages. Since the mid-1950s, the cognitive revolution has spurred more integrated theories of information processing and depth-of-processing models that explain and predict how people construct schematic frameworks of knowledge and [End Page 40] assimilate and accommodate new information as a function of perception, attention, emotion, comprehension, memory, and social and moral behaviors. Although masculinist metaphors of hierarchical "staircases" and linear networks of associative learning still dominate computational models, feminist perspectives, which engender social cognitive, co-relational negotiations of narratives in situated contexts, have gained more widespread acceptance—by including theatre as an apt metaphor for development.5 Over the past twenty years or more, cognitive psychologists have finally discovered what dramatic theorists have known about narrative structures since Aristotle's Poetics: Powerful stories contain universal themes about the human condition through characters' conflicting actions. The most successful dramas are those that allow spectators to enter into a protagonist's psychological consciousness or "inner" vision in order to empathize with her "outer" reality.6While several developmental models of aesthetic understanding, experience, and appreciation exist in the realms of visual art and music education, few examples have been proposed in regard to theatre, particularly for child audiences.7 Instead, producers of Theatre for Young Audiences (TYA) tend to romanticize its social and moral "effects" upon youth by believing passionately that viewing one remarkable performance has the potential (the operative word) to "cause" positive, social changes in children's minds, hearts, and behaviors, given the presumed "power of human imagination."8 This obsession with progressive change foregrounds adults' desires to control human destiny by predicting "causes and effects" located in children's responses to live performances. However, this "folk theory" fails to explain how young imaginations actually function aesthetically from the contextual evidence of reception studies with child audiences. Just as feminists have argued for a distinctive "feminist aesthetics," based on women's alternative ways of knowing,9 I argue that children gaze upon theatre in differential ways by including age as a variable factor. "Children's aesthetics," their perceived interpretations of theatre, differ from that of adults' theorized postulations, based in part on their shorter life experiences with this medium. To this end, over the course of my career, I have sought to understand theatre from children's perspectives by focusing my research in the social cognitive theories and social science methods of child development, primarily through the vast literature of television and mass media studies conducted with young people over the past forty years. In particular, medium-specific studies that parse theatrical forms from dramatic content... (shrink)

This article proposes how theatre, as a site of expert adult imaginative play, provides a unique window into how E-cognition can advance our understanding of imagination as a lifelong practice. I characterize theatrical activity as highly developed actions and strategies for wielding bodies, objects, and environments as imaginative practice. Through an enactively based case study of the play _Provenance_ by Autopoetics ( 2018 ), I reveal how creation and performance processes literally and epistemically engineer novel niches for the spectator. (...) This case study investigates how _Provenance_’s recurring theatrical device of newspaper manipulation constitutes a cognitive device for an affordance-oriented and predictive spectator. As I track the priorities and processes of these longstanding play development and performance techniques informed by the theatrical tradition of Jacques Lecoq (1921–1999), I suggest how concepts such as affordances, affordance spaces, predictive engagement, and the free energy principle are apt conceptual tools for understanding how these practices engender imaginative encounters. I follow this analysis by suggesting, via the free energy principle’s conception of “models,” that there may be cognitive consequences to the possible changes experienced by the spectator that exceed theatrical experience. I conclude this discussion by pointing toward how my 4-E inflected insights on the imaginative practices of _Provenance_ may be applicable to imagination and pretense in other arenas not just behind but also beyond the footlights. (shrink)

His authority is always grounded in the very authority he deposes, with the result that his voice is little more than a theatrical performance that unwittingly re-enacts the rhetorical maneuvers of deposed father figures.

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 123.3 (2002) 501-511 [Access article in PDF] Epilogue Jeffrey Henderson Judging from its migration in the early fourth century to southern Italy, Thesmo (if, following our editor's lead, I may be permitted this short form) was evidently successful in its own time; its exportability was perhaps due to its relative atopicality, its parodies of a tragic poet whose international celebrity (despite Aristophanes' prediction in Frogs) (...) only increased after his death, and its setting at a festival celebrated all over the Greek world, to say nothing of its sheer comic exuberance. And yet of Aristophanes' extant plays, Thesmo is the most precariously attested (one medieval manuscript and its apograph; four papyrus fragments) and least explored by scholars, editors, and translators. Before Sommerstein's edition of 1994, no separate scholarly edition or commentary had appeared for ninety years. Recently, however, Thesmo has been attracting lively interest: some new translations, fresh consideration of its portrayal of gender, genre, and cult, one new critical edition (with Italian translation) by Carlo Prato (2001) and another by Colin Austin (forthcoming) in preparation for the Oxford series edited by K. J. Dover. And so conditions are ripe for an evaluation of Thesmo as a play for the stage, even as a play that can speak to our times.Mary-Kay Gamel's conference and dramatic festival in February 2001 brought together scholars and students, performers, and local audiences to examine and experience the play's theatrical vitality past and present and succeeded not only in stimulating fresh consideration of its original character, but also in revealing the limitations of approaching an ancient comedy solely as a fixed reader's text, the document of a time long past. I was invited to the conference to play the role not of critic or respondent but rather of informal and freeform commentator, a role that with the reader's indulgence I will continue to play as this selection of papers is presented to a wider audience.It may seem self-evident that not everything worth knowing about a play can be conveyed by the words of its script alone; drama, after all, means enaction. Yet that is the assumption, implicit or explicit, on which classical drama has been studied, with Aristotle's blessing, since Hellenistic times. In classical Athens, art and education had been based primarily [End Page 501] on mousike: the performance of poetry, music, and dance, especially in drama, the primary musical enterprise of Athens; and drama had been judged and interpreted, as by Aristophanes and Plato, in terms of its effects—moral, civic, and spiritual no less than aesthetic—on the theatrical public. But by the time of Aristotle's Poetics, the rise of prose and of narrowly text- or language-based analytical systems divorced from communal contexts was fast removing performance and spectators from the evaluative study of drama.In traditional classical scholarship, formed in the Hellenistic schools and libraries, drama has been important chiefly as a corpus of fixed inherited texts. The fact that performance is intrinsically unstable, evanescent, and difficult to recreate in academic settings and that original performances are impossible to recapture, unacceptably complicated the construction of a stable "classical tradition" of literary interpretation and imitation. And so classicists have not until recently tried to develop performance-based approaches that could provide insights into our extant scripts that textual and formal analysis alone cannot.But the effort to develop performance-based approaches is well justified. In play scripts, like musical scores and song lyrics, the potential for ever different and ever-changing performance styles and contexts is a vital dimension of their meaning, and all the more powerful for being indeterminate. Thus watching a classical play performed is always different from reading it and always enlarges our response to it as a work of art, however remote our response may be from the original audience's. That each restaging of a play produces a different reading and a different experience for the audience may disturb text-bound readers, but this sort of dynamic instability is intrinsic to the play's theatricality, which cannot be fully apprehended in... (shrink)

All drama is meant to be heard by an audience, so that there is a sense in which any utterance in a play may be called audience address. It is possible, however, to draw a distinction between on the one hand the kind of drama in which the presence of an audience is acknowledged by the actors—either explicitly by direct address or reference to the audience, or implicitly by reference to the theatrical nature of the action the actors are (...) undertaking, or by a combination of some or all of these elements—and on the other hand the kind of drama in which such a presence is not acknowledged, where the actors maintain the pretence that they are enacting a real as distinct from a theatrical event. (shrink)

In 2011, two Chinese municipalities, Chongqing and Shanghai, enacted a property tax on rich homeowners. However, the two municipal governments sharply diverged in their designs of the tax and the justifying frames used. Whereas Chongqing explicitly framed the tax as a redistributive measure targeting the economic elite, Shanghai framed it as an ad hoc technical intervention in the housing market that would antagonize no one. This article explains how the only two Chinese cities that introduced this unconventional tax ended up (...) enacting the tax in such different ways. In doing so, this article proposes a theoretical framework synthesizing two main pillars of Bourdieu’s state theory – a conceptualization of the state as a field of competition, and a careful consideration of the symbolic dimension of state power. The political competition in which the top leaders of the two municipalities were engaged drove them to enact the tax. The positions these leaders occupied in the field of competition shaped their specific strategies of accumulating competition-specific capital, getting their capital noted and recognized by other players in the field, and theatricalizing their capital-seeking acts as serving some universal interest. These dynamics gave rise to divergent styles of enacting the tax. (shrink)

Presence is a central yet controversial topic in the study of performing arts and theatrical traditions, where the notion of ‘stage presence’ is generally understood as the performer’s ability to enchant the audience’s attention. How do dancers relate to the idea of presence in performance, and how do they understand, enact, and perform presence in their artistic work and practices? In this paper I offer an investigation into presence’s variations in three different dance practices and choreographic contexts: the case (...) of the Ballet National de Marseille during the staging of Emio Greco’s piece Passione; Contact Improvisation in the case of independent groups of contacters in Italy and Australia; and Body Weather, a radical movement ideology developed by Japanese choreographer Min Tanaka in the context of the company Tess de Quincey and Co. in Sydney. To illustrate how presence in dance practices emerges in relation to a complex and dynamic environment, I propose a cognitive ecological approach to the notion of ‘stage presence’, which considers both the co-presence of audiences and performers and the socio-cultural context of the performance event. By exploring how dancers articulate their lived experiences of presence in relation to their different dance contexts and traditions, I suggest framing phenomena of presence in an embodied ecological sense. (shrink)

As they make their way through Louis Althusser’s and Jacques Derrida’s texts, readers will cross innumerable curtains – ‘the words and things’, as Derrida says, as many fabrics of traces. These curtains open onto a multiplicity of scenes and mises en scène, performances, roles, rituals, actors, plays – thus unfolding the space of a certain theatricality. This essay traces Althusser’s and Derrida’s respective deployments of the theatrical motif. In his theoretical writings, Althusser’s theatrical dispositive aims to designate the (...) practical and material dimension of the scenes of ideology, materially enacted through roleplays, performances, acts, or discourses. At the horizon: a scientific discourse on ideology or, later, a strategic intervention in the class struggle. This scientific and/or strategic orientation echoes Althusser’s definition of materialism: ‘no more storytelling’. But Derrida’s ‘closure of representation’ reminds us that there’s no presence – even the most ‘material’ – no ‘truth’ or ‘correctness’ – in theoretical or strategic terms – without effects of re-presentation, differential repetition, narrative reconstruction: theatricality and materiality suppose a force of resistance, a secret heterogeneity, curtain foldings. Hence the irreducible necessity of reading, storytelling, transformative interpretation. What are the implications for thinking inheritance and debt – for example, the one binding Althusser and Derrida, and us to them? (shrink)

The need for a model -- Currently available models in psychiatry -- Introduction to enactivism -- Body and mind - and world -- The existential dimension and its role in psychiatry -- Enriched enactivism : existential sense-making, values, and socio-cultural worlds -- Enactive psychiatry : psychiatric disorders are disorders of sense-making -- An enactive approach to causes, diagnosis and treatment of psychiatric disorders.

This chapter contains section titled: Theatrical Performance as Radically Independent of Literature Theatrical Performance as a Form of Art.

This chapter contains section titled: General Success Conditions for Deeper Theatrical Understanding More Precise Success Conditions: Two Kinds of Deeper Understanding Some Puzzles about the Relation between Understanding What is Performed and Understanding How it is Performed Deeper Theatrical Understanding and Full Appreciation of a Theatrical Performance.

The article is an investigation into theatricality from various standpoints in order to focus on different views on theatricality considered as partially emancipated from theatre and to verify if and to what extent each of them can apply to installation artworks as environments and intermedial devices. Ultimately the article propounds the idea of a paradoxical anti-theatrical theatricality of installation art, grasped in its very connection to site-specificity, critically engaging Martin Heidegger’s insights regarding the «Gestell» and the «work-being» of the (...) work of art, as a general theoretical basis through which a particular focus of ‘specificity’ of installation is endorsed. (shrink)

This chapter contains section titled: Minimal General Success Conditions for Basic Theatrical Understanding Physical and Affective Responses of Audiences as Non‐Discursive Evidence of Understanding The Success Conditions for Basic Theatrical Understanding Met by Moment‐to‐moment Apprehension of Performances “Immediate Objects,” “Developed Objects,” and “Cogency” Objects of Understanding having Complex Structures Generalizing Beyond Plays The Problem of “Cognitive Uniformity”.

The paper discusses two recent approaches to schizophrenia, a phenomenological and a neuroscientific approach, illustrating how new directions in philosophy and cognitive science can elaborate accounts of psychopathologies of the self. It is argued that the notion of the minimal and bodily self underlying these approaches is still limited since it downplays the relevance of social interactions and relations for the formation of a coherent sense of self. These approaches also illustrate that we still lack an account of how 1st (...) and 3rd person observations can fruitfully go together in an embodied account of disorders of the self. Two concepts from enactive cognitive science are introduced, the notions of autonomy and sense-making. Based on these, a new proposal for an enactive approach to psychopathologies of the self is outlined that integrates 1st and 3rd person perspectives, while strongly emphasising the role of social interactions in the formation of self. It is shown how the enactive framework might serve as a basis for an alternative understanding of disorders of the self such as schizophrenia, as a particular form of socially constituted self-organisation. (shrink)

Enactive cognitive science combines questions in epistemology, ontology, and ethics by conceiving of bodies as open-ended and mutually transforming through activity. While enaction is not a theory of ethics, it can contribute to its foundations. We present a schematization of enactive ideas that underlie traditional distinctions between Being, Knowing, and Doing. Ethics in this scheme begins in the relation between knowing and becoming. Critical of dichotomous thinking, we approach the questions of alterity and ethical reality. Alterity is relevant to the (...) enactive approach, but not in the radical sense of transcendental arguments. We propose difference, instead, as a more generative concept. Following Simondon, we see norms and values manifest in webs of past and future acts together with their potentialities for becoming. We propose a transindividual concept of moral attunement that includes ethical know-how and consciousness raising. Through generative difference and attunement to configurations of becoming, enaction underpins an ethics of participation linking virtue ethics and ethics of care. (shrink)

Current theories of social cognition are mainly based on a representationalist view. Moreover, they focus on a rather sophisticated and limited aspect of understanding others, i.e. on how we predict and explain others’ behaviours through representing their mental states. Research into the ‘social brain’ has also favoured a third-person paradigm of social cognition as a passive observation of others’ behaviour, attributing it to an inferential, simulative or projective process in the individual brain. In this paper, we present a concept of (...) social understanding as an ongoing, dynamical process of participatory sense-making and mutual incorporation. This process may be described (1) from a dynamical agentive systems point of view as an interaction and coordination of two embodied agents; (2) from a phenomenological approach as a mutual incorporation, i.e. a process in which the lived bodies of both participants extend and form a common intercorporality. Intersubjectivity, it is argued, is not a solitary task of deciphering or simulating the movements of others but means entering a process of embodied interaction and generating common meaning through it. This approach will be further illustrated by an analysis of primary dyadic interaction in early childhood. (shrink)

We analyse the role of a theatrical script and its relation to the literary work and the theatrical performance. We put forward an Argument from Modality, which demonstrates structural and functional differences between literary works and theatrical scripts. Next, we answer some potential challenges to our argument. We demonstrate that the failure to realize the far-reaching consequences of a clear distinction between the literary work and the theatrical script is a source of confusion in the debate (...) on the relata of the relation of interpretation. In particular, we show that the relation of interpretation does not hold directly between the literary work and the theatrical performance. It is mediated by the script. The script interprets the literary work by filling in its places of indeterminacy and adjusting it for stage purposes. Moreover, the script, which is a set of instructions, is executed rather than interpreted in a theatrical performance. (shrink)

The enactive approach to cognitive science involves frequent references to “action” without making clear what is intended by the term. In particular, though autopoiesis is seen as a foundation for teleology in the enactive literature, no definition or account is offered of goals which can encompass not just descriptions of biological maintenance, but the range of social and cultural activities in which human beings continually engage. The present paper draws primarily on the work of Juarrero (Dynamics in action. Cambridge, MA: (...) MIT Press, 1999) and Donald (Origins of the modern mind. London: Wiedenfeld & Nicolson, 1991) in an attempt to offer the broad outlines of an account of goals and goal-directedness which is consistent with the enactive approach and which explicates several forms of goal-directedness exhibited by human beings. Four stages of cognitive evolution described by Donald are examined for characteristic mechanisms of adaptivity and goal-directedness. Implications for an enactive theory of meaning are discussed. (shrink)

(2010). The Theatrical Satanism of Self-Awareness Itself. Angelaki: Vol. 15, shadows of cruelty sadism, masochism and the philosophical muse – part two, pp. 29-43.

This paper investigates the embodied dimensions of episodic memory through a phenomenological analysis. Contemporary philosophical theories understand episodic memory as a mental representation of a past event ‘happening in the head’. A philosophical account that seemingly supports an embodied understanding of episodic memory comes from phenomenology. Phenomenology has traditionally understood episodic memory in terms of presentification, which implies a reproduction of the elapsed portion of the consciousness lived during the foreground experience, replicating the previous perceptual activity. However, this appears to (...) be incoherent with the constructive theories of episodic memory, which highlight how subjects shift perspectives in memory or include information not present in the foregoing experience. Thus, according to these contemporary theories, episodic memory is unlikely to imply a replay of the past conscious experience. I argue that if we investigate the embodied dimensions, then it is possible to reconcile the phenomenological approach and the constructive theories. More precisely, I ground the investigation on the analysis of operative intentionality and its role in comparing procedural and episodic memory. I argue that two embodied features qualify the reproductive modification of consciousness: the flexible re-enactment of the previous operative intentionality and the pre-reflective mode of embodied resonance with an agent I am no longer. (shrink)

I argue for an enactive account of musical experience — that is, the experience of listening ‘deeply’(i.e., sensitively and understandingly) to a piece of music. The guiding question is: what do we do when we listen ‘deeply’to music? I argue that these music listening episodes are, in fact, doings. They are instances of active perceiving, robust sensorimotor engagements with and manipulations of sonic structures within musical pieces. Music is thus experiential art, and in Nietzsche’s words, ‘we listen to music with (...) our muscles’. This paper attempts to explicate and defend this claim. First, I discuss enactive approaches to consciousness and cognition generally. Next, I apply an enactive model of perceptual consciousness to the experience of listening to music. To clarify what is at stake, I use Peter Kivy’s ‘enhanced formalism’ as a philosophical foil. I then look at how the animate body shapes musical experience. (shrink)

Using an enactive approach to trail runners’ activity, this study sought to identify and characterize runners’ phenomenological gestalts, which are forms of experience that synthesize the heterogeneous sensorimotor, cognitive and emotional information that emerges in race situations. By an in-depth examination of their meaningful experiences, we were able to highlight the different typologies of interactions between bodily processes (e.g., sensations, pains), behaviors (e.g., actions, strategies) and environment (e.g., meteorological conditions, route profile). Ten non-professional runners who ran an ultra-trail running race (...) (330 kilometers, 24,000 meters of elevation gain) volunteered to participate in the study. Data were collected in two steps: (1) collection of past activity traces (i.e., race maps, field notes and self-assessment scales) and (2) enactive interviews using the past activity traces in which the runners were invited to relive their experience and describe their activity. The enactive interviews were coded using the course-of-experience methodology to identify the phenomenological gestalts that emerged from activity and scaffolded the runners’ courses of experience. The results revealed that runners typically enact three phenomenological gestalts: controlling global ease, enduring general fatigue and experiencing difficult situations, and feeling freedom in the running pace. These phenomenological gestalts were made up of specific behaviors, involvements and meaningful situated elements that portrayed various ways of achieving an ultra-endurance performance in the race situation. They also highlighted how runners enact a meaningful world by acting in relation to the fluctuations in physical sensations and environmental conditions during an ultra-trail race. Practical applications for preparation, race management and sports psychology interventions are proposed to enrich the existing recommendations. In conclusion, this approach provides new research perspectives by offering a more holistic grasp of activity in trail running through an in-depth analysis of athletes’ experience. In doing so, we may expect that runners can connect these typical gestalts to their own personal experiences and stories as trail runners in order to sustain a viable approach to their sport. (shrink)

Velina Hasu Houston’s theatrical representations focus on exploring cultural collision and coalescence in transnational communities. With her biographical and cultural background deeply influenced by her Japanese mother’s way of life and sense of values, Houston has been open-minded in creating a new viewpoint through which to look at Japan, the United States and the world. Calligraphy is quite challenging in that it looks at her mother’s aging from both Japanese and American perspectives. It sheds new light on not only (...) understanding the beauty in the aging process but also women’s memories that have value beyond the personal. Since she wrote Tea based on her mother’s life as a war bride, Houston has presented a pioneering, in-depth exploration of Asian women’s memories that have been historically ignored in the United States. This paper examines how Houston’s insight into transnationalism through the transformative nature of cultural identity and change inspires her to re-envision women’s writing and highlights the need for a re-examination of the power of love and beauty. (shrink)

The essay analyzes anorexia as a theatrical performance, complete with its chosen acting school and particular dramatic features (plot, acting style, suspense-establishing mechanisms and motifs).

Theatre has been used in psychological intervention and as a metaphor for social life, tendencies that affect the self, highlighting how influential theatrical performance can be for individuals. Their limitations – in terms of the empowerment of the self and its authenticity, respectively - can be overcome by treating theatrical performance as a leisure experience, which considers that freedom and satisfaction play a central role in a more comprehensive understanding and development of the self. With this in mind, (...) we present the conceptual and empirical bases of the leisure experience as an alternative conception of theatrical performance. To do so, we organised a 20-hour theatre exercise workshop with 16 university students (15 women, one man), aged between 18 and 21 years old (M = 19.06 years; SD = 1.06). Qualitative instruments used were: the Time Budget Technique (questionnaire about the activities carried out in the workshop, valued in relation to two items: perceptions of freedom and satisfaction); the Twenty-Statement Test (where people list characteristics of themselves – self-descriptions – related in this case to the theatrical exercises); and, as a third instrument, a combination of the other two – specifying which exercises were more closely related to the self-descriptions. The results showed that group discussion was the activity with the highest perception of freedom, followed by obstacle exercises; as regards the perception of satisfaction, the highest value was observed in the relaxations. In the case of the self-descriptions, the acquisition of practical and intellectual skills was significant, as well as emotional outlook and the expression of self-esteem. In sum, this empirical support - using qualitative instruments that invite an exploration of the self - revealed, on the one hand, which specific characteristics of the self are manifested by doing theatrical exercises and, on the other hand, which exercises – when experienced as leisure – have a more decisive impact on the self. Thus, this paper shows what aspects must be taken into account when deciding which activities to include in a psychosocial intervention addressed to the development of the self from the standpoint of theatrical performance as a leisure activity. (shrink)

M.H.L. is a theatrical production dedicated to the first Slovak professional female director Magda Husáková-Lokvencová, which combines documentary theatre and performance. Sláva Daubnerová wrote the script and scene concept and is director and plays the sole character in the play. She portrays the private and professional life of M.H.L. in a chronologically sequenced and mosaic-like fashion. M.H.L. is portrayed as an educated, broad-minded and intelligent woman who knows her own mind. She graduated in law and then took up theatre (...) direction. Her private and professional life represented a series of ups and downs. Initially happy at the side of her husband, Gustáv Husák—successful early on as a politician, and flourishing in the theatre, she later had to struggle to survive and make a comeback to the theatre. Performer Daubnerová, enhanced the performance by using video art and sound design as important elements in the production. (shrink)

Cognitive science-informed approaches have gained considerable influence in education in the UK and internationally, but not much is known about how teachers perceive cognitive science-informed strategies or enact them within the contexts of their everyday classrooms. In this paper, we discuss the perceptions and experiences of cognitive science-informed strategies of 13 teachers in England. The paper critically explores how the teachers understood and used cognitive science-informed strategies in their teaching, their views of the benefits and challenges for different subjects and (...) groups of learners, and their reflections on supporting factors and barriers for adopting the strategies in their schools. The teachers’ accounts illustrate some of the many complexities of adopting cognitive science-informed approaches in real-life educational settings. Drawing on their narratives, the paper emphasises the importance of acknowledging different contextual dimensions and the dynamic interactions between them to understand when and how teachers enact cognitive science-informed approaches in their classrooms. (shrink)

Changing environment requires not just creativity, but disruptive creativity. The traditional planning paradigm within business organizations heavily relies on long- and short-term forecasting in order to predict the future and plan accordingly. However, a large share of business development is now characterized by rapid changes, inconsistency and unpredictability. Taking that into account a key task for managers is to explore and innovate in chaotic conditions, but how can owner–managers, business leaders and the employees respond to such rapid changes without the (...) appropriate skillset and educational background? This study calls for the modernization of enterprise education systems in order to provide students and graduates with tools relevant to the changing requirements of the business environment. We argue that such needed mastery of unconventional innovative thinking and acting “as if” rather have a lot in common with art education concepts and theatrical skills. Using videography as an example, we illustrate how advances in digital technology can help incorporate such theatrical concepts into enterprise education. As a contribution we provide insights and falsifiable propositions toward a renewal and revitalization of enterprise education pedagogy. (shrink)

Moral virtue development is grounded in social relationships that foster the socioemotional intelligence underlying moral virtue. Recent research shows a decrease in socioemotional intelligence with implications for moral virtue development. This project is a feasibility study of a theatrical intervention with parent-child dyads to increase socioemotional intelligence and proto-virtuous character by improving parent-child mutual responsiveness. Our theatrical approach combines direct development of mutual responsiveness and practice of moral virtue scripts, providing a powerful and seamless integration of philosophy, theatre (...) art and social science. (shrink)

Based on the fieldwork at two Norwegian Intensive Care Units, we wish to discuss the sometimes inconsistent manner in which death is handled, determined and made real by nurses and other healthcare personnel in high‐tech hospital situations. These discrepancies draw our attention towards different ways of attending to the dying and dead and views about appropriate or inappropriate codes of professional behaviour. As we will argue below, the analytical tools developed by Annemarie Mol are useful for sharpening our understanding of (...) the enactment of multiple ontologies of death as they are enacted within the ICU. Annemarie Mol and John Law’s notion of ‘ontological politics’ increases our awareness about the non‐arbitrary way some but not other practices are considered self‐evident whereas others are denigrated as muddled and illogical. (shrink)

Through the study of Richard Gruneau and Gunter Gebauer’s respective works, this article examines the social significance and theoretical implications of sport’s capacity to represent social life in a theatrical manner. The drama-like images and representations sporting practices produce, institutions codify, and television programs enhance is considered in relation to ideology’s integrative, legitimating, and distorting functions . Acknowledging the filiations of ‘theatre’ with ‘theory’ – both words stand for ‘to contemplate, to see, to observe’ – this study considers theatricality (...) as a valuable theoretical notion that enables a synthetic and reflexive understanding of athletic practices’ bodily dimension, symbolic representations, and institutional determinants. (shrink)

Emotion theorists tend to separate “arousal” and other bodily events such as “actions” from the evaluative component of emotion known as “appraisal.” This separation, I argue, implies phenomenologically implausible accounts of emotion elicitation and personhood. As an alternative, I attempt a reconceptualization of the notion of appraisal within the so-called “enactive approach.” I argue that appraisal is constituted by arousal and action, and I show how this view relates to an embodied and affective notion of personhood.

While today it is universally acknowledged that COVID-19 has generated immense challenges for businesses and societies worldwide, public perceptions varied significantly at the time of the pandemic’s initial appearance, even among democratic societies with comparable media systems. The growing scholarship on grand societal challenges in management and organization studies, however, tends to neglect the initial social construction of issues as complex, uncertain, evaluative, and widespread. We address this shortcoming by exploring the initial communicative enactment of COVID-19 in the media-based (...) public discourse in Switzerland, Germany, and the United Kingdom. By applying a social problem work lens, we identify three mechanisms that explain the maturation of COVID-19 into a grand challenge, further showing how these are contextually dependent on differences in discourse quality. We add to research on grand challenges, issue maturation, and framing dynamics by theorizing how issues become constructed and acknowledged as grand challenges in the first place. (shrink)

New and radically reformative thinking about the enactive and embodied basis of cognition holds out the promise of moving forward age-old debates about whether we learn and how we learn. The radical enactive, embodied view of cognition (REC) poses a direct, and unmitigated, challenge to the trademark assumptions of traditional cognitivist theories of mind—those that characterize cognition as always and everywhere grounded in the manipulation of contentful representations of some kind. REC has had some success in understanding how sports skills (...) and expertise are acquired. But, REC approaches appear to encounter a natural obstacle when it comes to understanding skill acquisition in knowledge-rich, conceptually based domains like the hard sciences and mathematics. This paper offers a proof of concept that REC’s reach can be usefully extended into the domain of science, technology, engineering, and mathematics (STEM) learning, especially when it comes to understanding the deep roots of such learning. In making this case, this paper has five main parts. The section “Ancient Intellectualism and the REC Challenge” briefly introduces REC and situates it with respect to rival views about the cognitive basis of learning. The “Learning REConceived: from Sports to STEM?” section outlines the substantive contribution REC makes to understanding skill acquisition in the domain of sports and identifies reasons for doubting that it will be possible to apply the same approach to knowledge-rich STEM domains. The “Mathematics as Embodied Practice” section gives the general layout for how to understand mathematics as an embodied practice. The section “The Importance of Attentional Anchors” introduces the concept “attentional anchor” and establishes why attentional anchors are important to educational design in STEM domains like mathematics. Finally, drawing on some exciting new empirical studies, the section “Seeing Attentional Anchors” demonstrates how REC can contribute to understanding the roots of STEM learning and inform its learning design, focusing on the case of mathematics. (shrink)

There is a small but growing community of researchers spanning a spectrum of disciplines which are united in rejecting the still dominant computationalist paradigm in favor of the enactive approach. The framework of this approach is centered on a core set of ideas, such as autonomy, sense-making, emergence, embodiment, and experience. These concepts are finding novel applications in a diverse range of areas. One hot topic has been the establishment of an enactive approach to social interaction. The main purpose of (...) this paper is to serve as an advanced entry point into these recent developments. It accomplishes this task in a twofold manner: it provides a succinct synthesis of the most important core ideas and arguments in the theoretical framework of the enactive approach, and it uses this synthesis to refine the current enactive approach to social interaction. A new operational definition of social interaction is proposed which not only emphasizes the cognitive agency of the individuals and the irreducibility of the interaction process itself, but also the need for jointly co-regulated action. It is suggested that this revised conception of ‘socio-cognitive interaction’ may provide the necessary middle ground from which to understand the confluence of biological and cultural values in personal action. (shrink)

In this article I will combine Erving Goffman’s sociology with some of the main aspects of Actor-Network Theory in order to outline a theatrical conception of social power. My first aim is to try to summarize the sociological perspective introduced by Kenneth Burke and then improved on by Erving Goffman to understand the face-to-face interactions of everyday life. Secondly, I will try to use the theatrical metaphor underlying this theoretical framework to describe power-over relations in everyday life. Thanks (...) to the combination of the dramaturgical theory proposed by Erving Goffman and the ‘object turn’ given to social theory by Actor-Network Theory, a theatrical conception of power allows the episodic, dispositional and systemic dimensions of power relations to be mapped respectively depending on the actors’ performances, their roles of power and the institutionalized scripts. Moreover, this theatrical representation of power-over relations is a defaced understanding of the phenomenon that enables us to investigate not only its different directional forms (power-to, -over and -with), but also their possible variants (empowerment, resistance, domination and solidarity). (shrink)