Theatre and Phenomenology: Manual Philosophy

ISBN-13: 9781137530516 / Angielski / Twarda / 2017 / 210 str.

Daniel Johnston

Opis

What it means to 'be' goes to the heart of drama. But in order to engage with theatre's Being-in-the-world, we need to attend to the meaning of being both in everyday life and in the creative process.This book provides a clear and accessible introduction to key concepts of phenomenology in relation to theatre, showing how they shed light on the works of influential theatre-makers such as Brecht, Artaud, and Stanislavski. By placing these concepts in dialogue with theatre-makers, Johnston is able to demonstrate how philosophical ideas can be put to work in a theatrical context and how we can approach difficult theory from a practical perspective. Each chapter features exercises and topics for discussion to encourage readers to explore the ideas presented in more depth, making it an excellent resource for undergraduate and postgraduate students of theatre, performance studies, and philosophy.

Spis treści

Acknowledgements PART I Introduction: Before the Curtain 1. Preparing the Part: Theatre and Philosophy 2. Setting the Stage: Phenomenology in Context 3. Revealing the Scene: Phenomenology in the Theatre PART II 4. Stanislavski's Phenomenology of Being-in-the-World: Action and Involvement 5. Artaud's Phenomenology of Anxiety: Language and Being-Towards-Death 6. Brecht's Phenomenology of Being-with-Others: Authenticity and History Conclusions: Lights Up on Manual Philosophy Bibliography Notes.

O autorze

Daniel Johnston is a Principal Lecturer in Performance for Stage & Screen at Sheffield Hallam University, UK.

Blurb

Questions of consciousness and being go to the heart of drama: in order to ‘use’ conscious action for representation, we need to understand it and find out how it works in the creative process.

This book provides a clear and accessible introduction to the key concepts of phenomenology in relation to theatre, showing how they shed light on the works of influential theatre-makers, such as Brecht, Artaud and Stanislavski. By putting these concepts into dialogue with theatre-makers, Johnston is able to demonstrate how philosophical ideas work with theatre, and how we can approach difficult theory from a practical perspective. Each chapter features exercises and topics for discussion to encourage readers to explore the ideas presented in more depth, making it an excellent resource for undergraduate and postgraduate students of theatre, performance studies and philosophy.