Theater production is a collaborative creative activity. Social creativity recognizes the relationships between creative groups and the contexts in which creativity emerges. It also suggests that the interactive processes between the collaborators and their work form a center, which in turn becomes a kind of creative entity itself. An evolving systems case study of production practices at the Oregon Shakespeare Festival illuminates this process and illustrates the differences between seeing an aggregate creative activity and the more holistic view, in which (...) the artwork functions like another person, a creature in dialogue with the personality of the creative system. (shrink)

In this essay, I argue that Søren Kierkegaard’s oeuvre can be seen as a theater of ideas. This argument is developed in three steps. First, I will briefly introduce a theoretical framework for addressing the theatrical dimension of Kierkegaard’s works. This framework is based on a distinction between“performative writing strategies” and “categories of performativity.” As a second step, I will focus on Repetition: A Venture in Experimenting Psychology, by Constantin Constantius, one of the best examples of Kierkegaard’s innovative way of (...) doing philosophy. This strange and elusive book introduces the difficult and counter-intuitive notion of repetition. Repetition is a category of performativity that aims to activate the subjectivity of the reader. This performative effect is achieved by confronting the reader with an “unresolved”existential problem that is not yet drawn into clarity but is staged in all its confusions and contradictions. Kierkegaard’s pseudonym Constantius relies here on a performative writing strategy that is animated by a dialectic of advance and withdrawal. In the last and third step, I will analyze Constantius’s own reflection on the performative dimension of his text. Constantius has left several clues behind, each of which suggests that he deliberately developed a performative writing strategy. (shrink)

From the Federal Theater Projects of the Great Depression to the disruptive performances of the 1960s and 1970s, theater has played an important role in American radicalism. This special issue of_ _Theater_ reports on socially conscious, politically active theaters in the United States. Despite the evaporation of Cold War passions and the rise of conservatism in the 1980s and 1990s, such theater work remains a persistent and evolving presence on the political landscape. Since the first inauguration of George W. Bush, (...) new opportunities have arisen for political performance and for significant new challenges to these artists. T_heater and Social Change_ not only tracks the historical evolution of political theater but also explores the current state and future prospects of different modes, including agit-prop, demonstrations, solo performance, Augusto Boal’s Theater of the Oppressed, and community-based production. With such notable contributors as Anna Deavere Smith, Jonathan Kalb, Holly Hughes, and Tony Kushner, the issue offers a diverse assemblage of personal statements, conversations, photographs, interviews, and performance text. _Contributors include:_ Reverend Billy, Jan Cohen-Cruz, Arlene Goldbard, Sharon Green, Lani Guinier, Holly Hughes, Jonathan Kalb, Tony Kushner, Judith Malina, Robbie McCauley, John O'Neal, Claudia Orenstein, Bill Rauch, Julie Salverson, Anna Deavere Smith, Alisa Solomon, Roberta Uno. (shrink)

Looks at the scientific basis for theories of drama, and explains how Cage's ideas have affected modern theater.

This collection explores the link between theater and human flourishing. It interrogates both the social good of theater and the personally restorative work of a range of live embodied performances. It brings together the disciplines of theater (and performance studies) and psychology, especially positive psychology, to explore the social benefits of theater. These benefits include the formation and participation in community, opportunities to engage in political speech and thought, and the experience of being entertained (or offended) by both the creative (...) work of artists and the individual responses of fellow audience members. (shrink)

Theater is an art or theater is not an independent art. Each of these antithetical propositions has its supporters. It is usually the supporters of the second who come up with anything resembling intelligible argumentation. The first is usually accepted as fact, sanctified by universal acknowledgement, without criticism, without much reflection—it is just accepted: theater unquestionably gives satisfaction. What kind? Aesthetic! And so, theater is an art!

(1996). Transcultural theater: The viewer response to Draussen vor der Tuer. The European Legacy: Vol. 1, Fourth International Conference of the International Society for the Study of European Ideas, pp. 1219-1224.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Theater of Nature: Jean Bodin and Renaissance Science by Ann BlairPeter DearAnn Blair. The Theater of Nature: Jean Bodin and Renaissance Science. Princeton: Princeton University Press, 1997. Pp. xiv + 382. Cloth, $45.00.Jean Bodin’s Universae naturae theatrum (1596) is the least celebrated of all the major publications by this outstanding figure of the French renaissance. It lacks the apparent political, historiographical, and philosophical relevance of Bodin’s well-known (...) earlier works (the Methodus ad facilem historiarum cognitionem of 1566, Les six livres de la République of 1576, and De la démonomanie des sorciers of 1580, all receiving much more attention then as now). Ann Blair focuses our attention on the Theatrum, as a text whose significance for her book exists on at least three interrelated levels: there is its relation to Bodin’s views in the more famous texts; its advantage as a treatise on natural philosophy about whose author we know much more (intellectually) than those of most such works; and in connection with the last, there is above all its value as a distinguished representative of a genre of natural philosophical writings that was prominent in the late sixteenth and early seventeenth centuries.It is the third consideration that motivates Blair’s book most centrally. She declares her wish to enrich our view of the history of science with works, like the Theatrum, that were not made by subsequently regarded stars such as Galileo or Descartes; the very typicality of its genre makes the Theatrum, she argues, a valuable window on contemporary understandings of what natural knowledge was and should be about. Bodin’s enterprise possessed a religious core: natural philosophy was for him a tool to be used in shoring up broadly irenical positions (of the kind associated with the Colloquium heptaplomeres, usually attributed, as here, to Bodin). This kind of “natural theology” avant la lettre characterized a good number of different thinkers and writers on natural philosophy in this period, many of them German (besides their discussion here, Blair is considering such people, and their project of pia philosophia, more fully in her current work). It is a subject that, more than anything, stands at the heart of her study.Bodin, rather conventionally, tried to establish a close liaison between natural philosophy and religious knowledge—that is, between those things to be inferred from experience of the natural world and the central dogmas of faith. Less conventionally, he attempted to demonstrate on occasion truths that were far from orthodox. Regardless of whether Bodin was “really” a Catholic or a Protestant (and Blair observes the great interest in the Theatrum shown by German Calvinists in the first few decades after its original publication), his general religious stance was one of accommodation. Thus good philosophizing could demonstrate (in the weak, rhetorical sense of that term) such doctrines as the existence and providence of God; contentious issues, such as the correct interpretation of the Eucharist, were left aside. Nonetheless, Bodin also argued, at such length and with such vigor as to have the propositions condemned by the Catholic church, that human souls and angels (as well as, more usually, demons) were corporeal beings. The importance to Bodin of this position stemmed from its sociopolitical implications: in particular, if human souls were incorporeal, it became unclear how rewards and punishments—necessary sanctions for restoring the social order threatened by the Wars of Religion—could be meted out after death. Curiously, such a view seems to imply that pleasure and pain are inextricably connected to bodies alone. [End Page 363]Among the historiographical strands informing Blair’s approach is recent literature on the “history of the book,” best known through the work of Roger Chartier. Accordingly, Blair discusses the vicissitudes of production of Bodin’s book in its various editions and emissions, and carefully considers, along with the likely reading practices by the aid of which Bodin came to compose it, the various uses to which its first readers put it. Her major interpretive trope is that of the commonplace book. While acknowledging the lack of direct material evidence for Bodin’s use of such a technique as his chief means of... (shrink)

In this short essay the A. intends to analyze the scientific coordinates of social theater as a pedagogical-didactic device in an inclusive perspective for the development of the intellectual welfare of communities in the 21st century. The reference model is that of Inclusive Education, which represents, as Unesco has specified several times, a true guideline in the field of education, education and training; it develops through the guiding principles of equality, social justice, freedom, the right to citizenship, the right to (...) education and social equity, without any discrimination based on race, gender, language, or different cultures. This is possible through inclusive theater workshops at school. (shrink)

In the performing arts, including music, theater, dance and so on, theoretical issues both about artworks and about performances of them must be dealt with, so that their theoretical analysis is inherently more complex and troublesome than that of nonperforming arts such as painting or film, in which primarily only artworks need to be discussed. Thus it is especially desirable in the case of the performing arts to look for defensible broad theoretical simplifications or generalizations that could serve to unify (...) and potentially comprehensively explain these difficult cases. (shrink)

Introduction -- Opening spaces -- Seeing what -- Pain between bodies -- Pots and plays -- Epilogue.

Had I been willing to run the risk of multiplying cuteness beyond necessity, this article would have worn the title “So you are one of those naṭs!.” The Hindi word naṭ, which helpfully sounds like the English nut, represents the way most of us in contemporary India pronounce the Sanskrit word naṭa. When we notice that a nut, in English, is someone crazy, pointing us toward the divine madness that a Dionysian performer might be expected to manifest — while on (...) the other hand no known classical Indian theory essentially associates the theater with madness — the contrast between conceptualizations of the theatrical in classical India and in classical Greece comes into view. Relative to what has come to.. (shrink)

Children love theater without knowing that they “do theater”, without someone teaching them to “play a part”: representing roles and situations is a spontaneous and natural playful dimension. We can call this “animation”, a characteristic feature of childhood: in the proper sense it means “giving life” by impersonating roles or creating scenarios with toys. Theater becomes a pedagogical device when it recognizes and enhances these assumptions by acting on two levels: on the one hand, making theater with children and young (...) people, soliciting their communication and interpretative skills, as a laboratory that, starting from the body, involves all languages. On the other hand, making theater for children, producing shows able to enter a relationship with the imagination of children, as an aesthetic experience; at its best it is experimental theater. (shrink)

This paper argues that there is a relationship between the structure of live theater and the question of whether human beings have free will, and that the practice of live theater and the pursuit of philosophical certitude regarding free will are both constructive human experiences coalesced around roughly the same set of sensations.

Table of Contents: Illustrations Acknowledgments Conventions Introduction 3 Ch. 1 Kinds of Natural Philosophy 14 Ch. 2 Methods of Bookishness 49 Ch. 3 Modes of Argument 82 Ch. 4 Bodin’s Philosophy of Nature 116 Ch. 5 Theatrical Metaphors 153 Ch. 6 The Reception of the Theatrum 180 Epilogue: The Legacies of the Theatrum 225 Notes 233 Bibliography 331 Index 369.

_The Art of Theater_ argues for the recognition of theatrical performance as an art form independent of dramatic writing. Identifies the elements that make a performance a work of art Looks at the competing views of the text-performance relationships An important and original contribution to the aesthetics and philosophy of theater.

tad aikṣata, bahu syām prajāyeyetiIt thought, May I be many, may I grow forth.rūpaṁrūpaṁ pratirūpo babhūva tadasya rūpam praticakṣanāyaThe prototype has assumed various forms, and such is its form as that which it adopts for its manifestation.prathamaṁ śūnyatābodhiṁ dvitīyaṁ bījasaṁgrahṁ tṛtīyaṁ bimba niṣpattiṁ caturthannyāsamakṣaraṁFirst is the void; second the seed; third the emanation of the image; fourth the articulation of the syllable.… rest and play alternate in the divine perfection as they must. … Ātman-Brahman must also be conceived not as (...) resting but playing in and as the thought.The aim of this article is to meditate philosophically on the very nature and significance of the trinitarian conceptions of.. (shrink)

Educational drama or drama-in-education, also known as process drama, is intrinsically an inclusive, mosaic pedagogy that utilizes various dramatic techniques and exercises as educational tools in schools. The goal of this teaching discipline is to engender a holistic and experiential learning that creates meaning and enhances self-expression and personal growth, leading the students to a better understanding of the complexity of human behavior, while also containing the “others” and their viewpoints.1Under the umbrella of D.I.E. there exists a range of different (...) and heterogeneous concepts, objectives, and practices. The contest between drama and theater, process and product, content and free expression... (shrink)

To become sovereign, one must be seen as sovereign. In other words, a sovereign must appear-philosophically, politically, and aesthetically-on the stage of power, both to themselves and to others, in order to assume authority. In this sense, sovereignty is a theatrical phenomenon from the very beginning. This book explores the relationship between theater and sovereignty in modern political theory, philosophy, and performance. Arthur Bradley considers the theatricality of power-its forms, dramas, and iconography-and examines sovereignty's modes of appearance: thrones, insignia, regalia, (...) ritual, ceremony, spectacle, marvels, fictions, and phantasmagoria. He weaves together political theory and literature, reading figures such as Plato, Aristotle, Montaigne, Leibniz, Kant, Hegel, Schmitt, Benjamin, Derrida, and Agamben alongside writers including Shakespeare, Cervantes, Schiller, Melville, Valéry, Kafka, Ionesco, and Genet. Formally inventive and deeply interdisciplinary, Staging Sovereignty offers a surprising and original narrative of political modernity from early modern political theology to the age of neoliberal capitalism. (shrink)

Nietzsche and the theater -- Zukunftstheater! -- How to theatricalize with a hammer -- Nietzsche contra Nietzsche -- The theater and Nietzsche -- Ecce Strindberg -- The genealogy of Shaw -- Thus spake O'Neill -- Epilogue: Centaurs.

This article presents and discusses an innovative pedagogical device designed for training pre-service teachers on the nature of science. We endorse an approach according to which aspects of the nature of science should be explicitly discussed in order to be understood by learners. We identified quantum physics, and more precisely the principles of uncertainty and complementarity, as a rich topic suitable for such a discussion. Our training device consists in preparing and staging a new type of theater, the “scientific experimental (...) theater,” based both on the characteristics of Brecht’s theater and Kelly’ cyclic theory of learning. This device was implemented with a group of eight pre-service teachers. According to our observations, the approach favors their involvement and provides them with a frame for expressing their doubts and confronting their points of view. By analyzing their discussion, we identified several aspects of the nature of science that the pre-service teachers raised spontaneously: subjectivity, the social and cultural embeddedness of science, the construction and status of models, and the role of questioning in the development of science. The implemented device therefore appears as an interesting means for stimulating a rich discussion on the nature of science. This study opens new avenues for teachers’ and students’ training devices aimed at developing a critical and reflective stance on science. (shrink)

This paper addresses a growing concern within the medical humanities community regarding the perceived need for a more empathically-focused medical curricula, and advocates for the use of creative pedagogical forms as a means to attend to issues of suffering and relationality. Drawing from the ethical philosophy of Emmanuel Levinas, I critique the notion of empathy on the basis that it erases difference and disregards otherness. Rather, I propose that the concept of empathy may be usefully replaced with that of ethical (...) responsibility , which suggests a shared sense of humanity outside the boundaries of presumed knowledge of the other. To illustrate this argument, I theorize the importance of theater within medical education. Theater, I argue, may engender ethical responsibility in the Levinasian sense, and thus may allow learners to differently engage with the experience of the suffering other. As such, I examine Margaret Edson’s widely used play Wit as a platform for such an ethical encounter to occur. Thus, rather than working to understand the value of theater in medical education in terms of knowledge and skill acquisition, I theorize that its primacy within medical curricula arises from its ethical/relational potential , or potential to engender new forms of inter-human relationality. (shrink)

Though Rousseau is recognized to have treated the problem of self-knowledge with great sensitivity, very little is known about a centrally important aspect of that treatment—his understanding of self-deception. I reconstruct this conception, emphasizing the importance of purposive but sub-intentional processes that work to enhance agents' self-esteem. I go on to argue that Rousseau's fundamental concern about the theater is its capacity to manipulate these processes in ways that make spectators both complicit in their own falsification and vulnerable to elite (...) domination. This argument, with its focus on the pervasive and often subconscious character of self-deception, not only problematizes an influential reading of Rousseau which emphasizes the epistemic availability of the “true” or “sincere” self, but also highlights the ongoing civic and moral threat posed by self-deceptive mental states. (shrink)

El artículo examina la concepción hegeliana del arte moderno a la luz de las consideraciones sobre el teatro en las Lecciones de estética. Dicha concepción se modifica respecto a la época clásica y la antigüedad con la irrupción del principio de la subjetividad en el arte. Se descubren así las dimensiones histórica, reflexiva y comprensiva del arte que anticipan una hermenéutica del arte bajo la consigna de un “arte para nosotros”: un arte que deja de estar anclado en las representaciones (...) del pasado para situarse más bien de cara a las exigencias del presente. (shrink)

Presentations of tragic theater in ancient Greece both represent and elicit the sharing of emotions. The theory behind this is cognitive: In order to share the emotions of another, you must understand the situation of the other. In keeping with the theory, tragic texts emphasize the importance of understanding.Ancient Greek poets did not conceive that one person could respond emotionally to another without understanding the situation of the other, ideally through having lived through a similar situation — if not, then (...) by imagining oneself in that situation. The word we translate as “compassion” is cognitive at root — “with-knowing,” sungnōmosune. Its cognate in modern Greek, sungnōme, still means “pardon me,” but.. (shrink)

An action research project was carried out, using theater workshops and basic digital fabrication technology workshops to improve social skills—such as the expression of emotions, communication, self-control, and teamwork—in a group of 10 young individuals with autism spectrum disorder. This article focuses on the digital fabrication workshops, where participants worked on the fundamentals of electronics and programming, as well as 3D design and printing, to make props that were later used on stage in the theatrical performances in which they participated. (...) These workshops were systematized through observation guides. According to the results, it was evident that the participants not only enjoyed and gained technological knowledge, but that their social skill development needs were addressed. Professionals from the Special Education Faculty and the Fab Lab Kä Träre, both from Universidad Estatal a Distancia in Costa Rica, were in charge of the study during its first phase, executed in 2016 and 2017. (shrink)

The article touches upon the problem of the influence of Anna Ioannovna's personal qualities on the formation of the Russian musical theater. Despite the fact that historians generally critically evaluate the results of the reign of this tsarina, her contribution to the development of Russian musical theater was significant and, according to the author, not fully appreciated. According to the researchers, it was thanks to the initiatives of Peter the Great's niece that opera seria came to Russia and reigned for (...) many years. However, the question "was it Anna Ioannovna's merit that after her reign, in the last quarter of the XVIII century, the opera art in Russia experienced an upsurge?" was not raised. The scientific novelty of the study consists in establishing a causal relationship between the aesthetic preferences of the Empress and the musical and historical processes that led to the birth of Russian opera over several decades. The paper uses methods of analysis and synthesis of the found historical evidence, taking into account the works of domestic and foreign scientists. The main conclusions of the study are the reassessment of the historical role of Anna Ioannovna as the initiator of the development of the national musical theater. In fact, the Empress played one of the key roles in the preparation of the Russian Enlightenment. The information given in the article has practical significance and can be recommended for use in the educational process as an addition to lecture materials. (shrink)

We have become estranged from the cosmic movements, according to Bataille. We are confined by the error linked to the representation of ‘the stationary earth’. We have negated the immersive immanence of the whole and made nature into a fixed world of tools and things. How then do we recognise ourselves as part of the ‘rapture of the heavens’? Bataille urges us to consider life as a solar phenomenon, the free play of solar energy on the earth. This paper argues (...) how Bataille’s cosmic vision anticipates both planetary and ecological thinking. This entails a base materialism of difference based on a radical Nietzschean and Heraclitean theory of becoming and flux. This thought is developed along Bataillean concepts such as the movement of the whole, the labyrinthine, and compound beings, ipseity, as well as the concept of a communifying movement. This materialism paired with Vladimir Vernadsky’s biosphere lays the foundation for the laws of the general economy, which also constitutes an economy inclusive of a general ecology: a tragic vision of Gaia and Dionysos. Finally, poetry is considered, as a way we might reconnect with the universe and stimulate ecological imagination. (shrink)