Introduction: Unwriting Theatre
Defining the terms, literary humanism, dramatic humanism, and theatrical humanism, the introduction opens with Aristotle’s separation of writing from opsis, then engaging Horace, for whom dramatic and theatrical performance is at once the consequence and
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Humanism, Drama, and Performance
Hana Worthen
Humanism, Drama, and Performance Unwriting Theatre
Hana Worthen New York, NY, USA
ISBN 978-3-030-44065-7 ISBN 978-3-030-44066-4 (eBook) https://doi.org/10.1007/978-3-030-44066-4 © The Editor(s) (if applicable) and The Author(s) 2020 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and institutional affiliations. Cover image: Mental Finland, directed by Kristian Smeds, Royal Flemish Theatre, 2009. Courtesy of Smeds Ensemble. Photograph by Bart Grietens. This Palgrave Macmillan imprint is published by the registered company Springer Nature Switzerland AG The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland
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Acknowledgments
Like any other, this volume has been thought by virtue of the writings and performances it engenders; my thanks to all who trained my attention on ways that singularize performance to the theatre. The volume’s chapters have been written in collaboration with people who are colleagues, more than colleagues, friends, and more than friends: Peter Connor, Helene Foley, Kristian Smeds, Peter Platt, and Peg Prideaux. I am grateful to each of you for your kindness and generosity, for sharing your lives as you have shared your expertise with me. I am also grateful to Stathis Gourgouris, who, serving on my tenure committee, read several iterations of this manuscript. Students in my Politics of Performance, Theatre and Democracy, Nazism in Performance, and Dramaturgy seminars at Barnard College, Columbia University in New York have been instrumental to the development of the project between these covers, as were the faculty and fellows of the Interweaving Performance Cultures of the Freie Universität in Berlin. I am sincerely indebted to all of you. W. B. Worthen shares in the living and the lived dimensions sustaining the pages here; with gratitude, with love, this book is de
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