Theatricality as Medium / / Samuel Weber.

• Superior document: Title is part of eBook package: De Gruyter Fordham University Press Complete eBook-Package Pre-2014
• VerfasserIn: Weber, Samuel,
• Place / Publishing House: New York, NY : : Fordham University Press, , [2009]; ©2009
• Year of Publication: 2009
• Language: English
• Physical Description: 1 online resource (414 p.)
• Other title: Frontmatter --; Contents --; Preface --; Prior Publication --; Introduction: Theatricality as Medium --; 1. Theatrocracy; or, Surviving the Break --; 2. Technics, Theatricality, Installation --; 3. Scene and Screen: Electronic Media and Theatricality --; 4. Antigone’s Nomos --; 5. The Place of Death: Oedipus at Colonus --; 6. Storming the Work: Allegory and Theatricality in Benjamin’s Origin of the German Mourning Play --; 7. ‘‘Ibi et ubique’’: The Incontinent Plot (Hamlet) --; 8. Kierkegaard’s Posse --; 9. After the End: Adorno --; 10. Psychoanalysis and Theatricality --; 11. ‘‘The Virtual Reality of Theater’’: Antonin Artaud --; 12. Double Take: Acting and Writing in Genet’s ‘‘The Strange Word Urb’’ --; 13. ‘‘Being . . . and eXistenZ’’: Some Preliminary Considerations on Theatricality in Film --; 14. ‘‘War,’’ ‘‘Terrorism,’’ and ‘‘Spectacle’’: On Towers and Caves --; 15. Stages and Plots: Theatricality after September 11, 2001 --; Appendix --; Notes --; Index
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9780823238675; 9783111189604; 9783110707298
• DOI: 10.1515/9780823238675?locatt=mode:legacy
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: Samuel Weber.

Ever since Aristotle's Poetics, both the theory and the practice of theater have been governed by the assumption that it is a form of representation dominated by what Aristotle calls the "mythos," or the "plot." This conception of theater has subordinated characteristics related to the theatrical medium, such as the process and place of staging, to the demands of a unified narrative. This readable, thought-provoking, and multidisciplinary study explores theatrical writings that question this aesthetical-generic conception and seek instead to work with the medium of theatricality itself. Beginning with Plato, Samuel Weber tracks the uneasy relationships among theater, ethics, and philosophy through Aristotle, the major Greek tragedians, Shakespeare, Kierkegaard, Kafka, Freud, Benjamin, Artaud, and many others who develop alternatives to dominant narrative-aesthetic assumptions about the theatrical medium. His readings also interrogate the relation of theatricality to the introduction of electronic media. The result is to show that, far from breaking with the characteristics of live staged performance, the new media intensify ambivalences about place and identity already at work in theater since the Greeks. Praise for Samuel Weber: “What kind of questioning is primarily after something other than an answer that can be measured . . . in cognitive terms? Those interested in the links between modern philosophy nd media culture will be impressed by the unusual intellectual clarity and depth with which Weber formulates the . . . questions that constiture the true challenge to cultural studies today. . . . one of our most important cultural critics and thinkers”—MLN