The Theatre of Death – The Uncanny in Mimesis: Tadeusz Kantor, Aby Warburg
TWITCHIN, Mischa
2016
Autor(es): TWITCHIN, Mischa
Título: The Theatre of Death – The Uncanny in Mimesis: Tadeusz Kantor, Aby Warburg, and an Iconology of the Actor (Performance Philosophy)
Publicação: London: Palgrave Macmillan, 2016
ISBN: 978-1-137-47871-9
Assunto(s):
Teatro -- Arte -- Filosofia
Teatro -- Filosofia
Performance -- Arte -- Filosofia
Performance -- Filosofia
Artes Performativas -- Performance -- Filosofia
KANTOR, Tadeusz (1915-1990) -- Encenadores -- Teatro -- Polónia
Índice | Table of Contents | Table des Matières
Introduction: Three Instances of Reading the Past in the Present - 1
Part I – 15
1. Thinking of the Dead Through a Concept of Theatre (The Dead Class) – 17
1- Analogy and Aporia - 17
2 - Metaphor - 24
3 - Séance - 27
4 – Shock - 33
5 - Major and Minor - 37
6 - Art and Truth - 41
7 - Reality and Autonomy - 48
8 - Pathos - 53
9 - Tragedy - 58
10 –Elimination - 60
Twitchin, Mischa
Part II
2. Precedents (Craig and Artaud, Maeterlinck and Witkiewicz) - 85
3. Survivals and the Uncanny - 117
4. Superstition and an Iconology - 147
Part III - 173
5. What Do We See in Theatre: In Theory? - 175
1 - “To Establish that Theatre Thinks...” (Badiou): Thought and Event - 175
2 - “Through the Medium of its Concept” (Adorno): Theatre and Aesthetics - 179
3 - “Often What a Word Expresses...” (Heidegger): Theatre and Theory - 187
6. A Question of Appearance: Enter the Actor - 201
1 - In the Mirror of the Uncanny (Freud and Vernant) - 201
2 - “As if For the First Time...” (Kantor) - 207
3 - “A Sign Charged With Signs...” (Genet) - 213
4 - In the Image of the Photograph (Barthes, Heidegger, and Nancy) - 218
Part IV
7. Tadeusz Kantor: An Avant-Garde of Death - 237
1 - What Is Still to Be Remembered (Imagined or Conceived) of the Cricot 2: Between Manifestos and Objects, Actors and Photographs? - 240
2 - How are the Conditions of Production of the Cricot 2 Remembered Through Exhibitions by the Cricoteka? - 247
3 - What Returns in the Historical Impasse Between Formalism and Naturalism? - 256
4 - “Once Again I Am on Stage...” How Is Kantor’s Theatre of Death Informed by the Thought of Aesthetic Demarcation (as Distinct from Participation)? - 261
5 - How Might the Past of Kantor’s Theatre (with the Example of the Cricoteka as a “Living Archive”) Resist the Claims of What Is Called Post-Modern? - 269
6 - How Do Claims for the Autonomy of Art Resist Those for its Historical Speci city—Whether as Avant-Garde or Anachronistic? - 275
7 - In Place of a Conclusion: How Might “The Return of Odysseus” Offer an Image of and for the Theatre of Death? In the Pathos of “Return”, How Might Kantor’s Own Appearance “on Stage” Offer Testimony to the Short Twentieth Century? - 285
Bibliography - 305
Index - 329
Autor(es): TWITCHIN, Mischa
Título: The Theatre of Death – The Uncanny in Mimesis: Tadeusz Kantor, Aby Warburg, and an Iconology of the Actor (Performance Philosophy)
Publicação: London: Palgrave Macmillan, 2016
ISBN: 978-1-137-47871-9
Assunto(s):
Teatro -- Arte -- Filosofia
Teatro -- Filosofia
Performance -- Arte -- Filosofia
Performance -- Filosofia
Artes Performativas -- Performance -- Filosofia
KANTOR, Tadeusz (1915-1990) -- Encenadores -- Teatro -- Polónia
Índice | Table of Contents | Table des Matières
Introduction: Three Instances of Reading the Past in the Present - 1
Part I – 15
1. Thinking of the Dead Through a Concept of Theatre (The Dead Class) – 17
1- Analogy and Aporia - 17
2 - Metaphor - 24
3 - Séance - 27
4 – Shock - 33
5 - Major and Minor - 37
6 - Art and Truth - 41
7 - Reality and Autonomy - 48
8 - Pathos - 53
9 - Tragedy - 58
10 –Elimination - 60
Twitchin, Mischa
Part II
2. Precedents (Craig and Artaud, Maeterlinck and Witkiewicz) - 85
3. Survivals and the Uncanny - 117
4. Superstition and an Iconology - 147
Part III - 173
5. What Do We See in Theatre: In Theory? - 175
1 - “To Establish that Theatre Thinks...” (Badiou): Thought and Event - 175
2 - “Through the Medium of its Concept” (Adorno): Theatre and Aesthetics - 179
3 - “Often What a Word Expresses...” (Heidegger): Theatre and Theory - 187
6. A Question of Appearance: Enter the Actor - 201
1 - In the Mirror of the Uncanny (Freud and Vernant) - 201
2 - “As if For the First Time...” (Kantor) - 207
3 - “A Sign Charged With Signs...” (Genet) - 213
4 - In the Image of the Photograph (Barthes, Heidegger, and Nancy) - 218
Part IV
7. Tadeusz Kantor: An Avant-Garde of Death - 237
1 - What Is Still to Be Remembered (Imagined or Conceived) of the Cricot 2: Between Manifestos and Objects, Actors and Photographs? - 240
2 - How are the Conditions of Production of the Cricot 2 Remembered Through Exhibitions by the Cricoteka? - 247
3 - What Returns in the Historical Impasse Between Formalism and Naturalism? - 256
4 - “Once Again I Am on Stage...” How Is Kantor’s Theatre of Death Informed by the Thought of Aesthetic Demarcation (as Distinct from Participation)? - 261
5 - How Might the Past of Kantor’s Theatre (with the Example of the Cricoteka as a “Living Archive”) Resist the Claims of What Is Called Post-Modern? - 269
6 - How Do Claims for the Autonomy of Art Resist Those for its Historical Speci city—Whether as Avant-Garde or Anachronistic? - 275
7 - In Place of a Conclusion: How Might “The Return of Odysseus” Offer an Image of and for the Theatre of Death? In the Pathos of “Return”, How Might Kantor’s Own Appearance “on Stage” Offer Testimony to the Short Twentieth Century? - 285
Bibliography - 305
Index - 329