By Samuel Weber
Ever on account that Aristotle's Poetics, either the idea and the perform of theater were ruled by means of the belief that it's a type of illustration ruled by way of what Aristotle calls the mythos,or the plot.This notion of theater has subordinated features concerning the theatrical medium, similar to the method and position of staging, to the calls for of a unified narrative. This readable, thought-provoking, and multidisciplinary research explores theatrical writings that query this aesthetical-generic perception and search in its place to paintings with the medium of theatricality itself. starting with Plato, Samuel Weber tracks the uneasy relationships between theater, ethics, and philosophy via Aristotle, the foremost Greek tragedians, Shakespeare, Kierkegaard, Kafka, Freud, Benjamin, Artaud, etc who strengthen possible choices to dominant narrative-aesthetic assumptions concerning the theatrical medium. His readings additionally interrogate the relation of theatricality to the advent of digital media. the result's to teach that, faraway from breaking with the features of stay staged functionality, the hot media accentuate ambivalences approximately position and identification already at paintings in theater because the Greeks. compliment for Samuel Weber: what sort of wondering is basically after anything except a solution that may be measured . . . in cognitive phrases? these drawn to the hyperlinks among sleek philosophy nd media tradition can be inspired by means of the bizarre highbrow readability and intensity with which Weber formulates the . . . questions that constiture the real problem to cultural stories this present day. . . . considered one of our most crucial cultural critics and thinkers-MLN
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Additional info for Theatricality as Medium
Oedipus, ‘‘swollen foot,’’ made his name a public word by finding the word or noun that ‘‘solved’’ the riddle of the Sphinx and liberated Thebes from its scourge, only to reveal that the greatest dangers do not always come from without. Having supplied the name of a species that seemed to subsume the paradoxes of the Sphinx—paradoxes that describe a creature who has ‘‘two, three, and four legs,’’ who speaks with a ‘‘single voice’’ and yet moves most rapidly on two feet and 22 Introduction most slowly on four—Oedipus’s fate demonstrates what can happen when the secret of the Heideggerian twofold deploys itself under feet that are trying to move.
What makes these ‘‘choirs’’ all the more wondrous is that they seem to be composed neither of simple amateurs nor of pure professionals. And yet, since the need to which they respond appears undeniable, the Athenian is led to make the following, exasperated suggestion: If there is really any need for our citizens to listen to such doleful strains on some day which stands accursed in the calendar, surely it would be more proper that a hired set of performers should be imported from abroad for the occasion to render them, like the hired minstrels who escort funerals with Carian music.
Why should a ‘‘curtain’’ in front of a stage be ‘‘constantly raised’’—or constantly lowered, for that matter? Heidegger’s effort to dismiss the stage by invoking a constant curtain suggests, by its very incommensurability with even the most rudimentary ‘‘ontic’’ experience of theater, that the simple opposition of raising and lowering will be no more appropriate to theater than to truth as ale¯theia. What if it were not the presence or absence of the curtain, and more than that of the being of beings, that was at stake in this negative figure, but rather its folds?