By Tom Stern
The connection among philosophy and theatre is a important subject within the writings of Plato and Aristotle and of dramatists from Aristophanes to Stoppard. the place Plato argued that playwrights and actors could be banished from the right urban for his or her suspect imitations of fact, Aristotle argued that theatre, quite tragedy, used to be very important for exciting our feelings and assisting us to realizing ourselves.
Despite this wealthy heritage the learn of philosophy and theatre has been principally missed in modern philosophy. this can be the 1st e-book to introduce philosophy and theatre. It covers key issues and debates, featuring the contributions of significant figures within the background of philosophy, including:
• what's theatre?
• How does theatre evaluate with different arts?
• Theatre as imitation, together with Plato on "mimesis"
• fact and phantasm within the theatre, together with Nietzsche on tragedy
• Theatre as historical past theatre and morality, together with Rousseau's criticisms of theatre
• viewers and emotion, together with Aristotle on catharsis
• Theatre and politics, together with Brecht's Epic Theatre.
Including annotated extra examining and summaries on the finish of every bankruptcy, Philosophy and Theatre is a perfect place to begin for these learning philosophy, theatre stories and similar matters within the arts and humanities.(less)
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Additional info for Philosophy and Theatre: An Introduction
Example text
We do not see him as Oedipus because he looks like Oedipus (imitation-mimesis). Nor do we see him as Oedipus because the actor is himself pretending to be Oedipus. 43 The kind of mimesis that takes place on the part of the actor is different from that which takes place on the part of the audience. First of all, actors are encouraged in some sense to respond (physically) to what is going on. Oedipus is old and blind, so the actress playing Antigone must guide him and help him sit down. The audience pretend that they are seeing a blind man aided by his daughter; but they aren’t supposed to help him out, or physically respond in any obvious way.
When we sit at the theatre, the curtain goes up and a person walks out onto the stage, we see that person not (or not merely) as some old British actor whom we once saw on a TV show about people who spend too much money on their pets, but as Oedipus, by now a blind old man who has suffered at the hands of fate. We do not see him as Oedipus because he looks like Oedipus (imitation-mimesis). Nor do we see him as Oedipus because the actor is himself pretending to be Oedipus. 43 The kind of mimesis that takes place on the part of the actor is different from that which takes place on the part of the audience.
Are we really to believe (as in Racine’s Phèdre) that Phèdre and Hippolyte just happen to reveal their respective secrets to their respective companions and that Thésée calls down his terrible curse in exactly the same location? Equivalent points have been made about the unity of time: in a sense it’s more verisimilar to perform a play in ‘real time’ – such that one hour on stage represents one hour of action; but, then again, if one tries to write about a significant dramatic event that takes place only in the time allotted to the play, it can end up feeling artificially compressed and hence not verisimilar at all.