New Approaches to Theatre Studies and Performance Analysis by Günter Berghaus

By Günter Berghaus

This quantity gathers sixteen papers initially written for the social gathering of the forty ninth Colston Symposium, held in Bristol in 1997, and considerably revised for this ebook. They contemplate the various key advancements within the self-discipline of Theatre stories over the last fifty years and mix this with a dialogue of recent tendencies and techniques, particularly within the fields of functionality experiences, reception research, interculturalism, sociocultural research, theatre anthropology, dance and move research, computer-assisted reconstruction of functionality venues, road theatre, guerilla theatre, ritual theatre, and so on.

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Can I take it as evident that the situation of our relatively small »humanistic« enclave has in the meantime become seriously threatened in the war against the Keynesian response to Leninism? Or can I at least ask: how can a dissenting intellectual from a marginal country in southeast central Europe, transplanted to the semi-periphery of the US empire and having participated in its now fading financial privileges, here-and-now speak about anything, and in particular about the topic my title approaches?

Opinions may legitimately differ as to when this is the case. However, as Milton's Areopagitica argues, in case of doubt we should in the domain of signification, for cognitive reasons appropriate to it, err on the side of tolerance. , extortion of »art« objects for Northern museums), of vanity, or of class, gender, ethnic, and other supposed superiority is beyond the pale. Thus, a cat may look at a king: nostalgia for protected national markets of culture will get us nowhere today. There is no stringent reason that Brook's performance should deal specifically with India.

We know of no way of settling this. I would, however, agree with feminists such as Irigaray, Kristeva, Cixous or Grosz, who reject the conception of a body that is pre-expressive, pre-cultural, pre-linguistic or pre-social. 20 In addition, I subscribe to her suggestion for the need to develop »some kind of understanding of embodied subjectivity, of psychic corporeality«. These concepts seem to be related to Michael Chekhov's notion of psychological gesture which, when applied to the spectator's psychic corporeality, could provide a productive basis for a concrete analysis of the activity of spectating.

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