Of Shame and Guilt in Drama
Albert S. Gérard
Symbolist Playwright-Dancer Collaborations.
Corporeal Topographies in Literature, Theatre, Dance, and the Visual Arts
Edited by Markus Hallensleben
This volume is of interest for performance studies artists as well. By focusing on the intersection of body and space, all contributions aim to bridge the gap between art practices and theories of performativity. The innovative impulse of this approach lies in the belief that there is no distinction between performing, discussing, and theorizing the human body, and thus fosters a unique transdisciplinary and international collaboration around the theme performative body spaces. (I. Biopolitical Choreographies, II. Transcultural Topographies, III. Corporal Mediations, IV. Controlled Interfaces.)
Garrett P.J. Epp
While the Wycliffite Tretise of Miraclis Pleyinge famously condemns religious theatre as sinful idleness and ‘signs without deed,’ biblical drama has the potential to be highly productive, as a form of performative theology. Much like the meditative mode of affective piety, likewise common in the later Middle Ages, when undertaken seriously by or for those who believe in what it represents, the performance of biblical drama can create rather than merely represent theological meaning. This paper examines a variety of texts and performances, medieval and modern, in order to demonstrate how religious belief and theatrical make-believe can intertwine.
-born baby, whom the intruder comes to fetch in L’Intruse , is depicted as a “child of wax” (my translation) ( Théâtre : 229). His only cry is the cry that marks his death. The elderly grandfather evokes his belief that the baby will be “deaf, and perhaps mute,” and he concludes: “This is what consanguinity
Aleksandra V. Jovanović
imagination” (Deane: 75–91); while the other is marked by Beckett’s belief that “there is nothing to express” (“Proust:” 103): that words fall into the “unfathomable abysses of silence” ( Disjecta : 172). Ultimately, it is to Beckett that Banville turns, stating that “I go in a Beckettian direction” (Schwall
Discourses, Strategies, and Power in the Yorùbá Play of Transformation
But odún: where is it? and what is it? And the ‘voice’? The many critical discourses have not really answered these questions. In effect, odún is many things. To enable the reader to see these, the study proceeds with an ‘intermezzo’: a frame of reference that sets odún, the festival, in its own historico-cultural ecoenvironment, identifying the strategies that inform the performance and constitute its aesthetic. It is a ‘classical’ yet, for odún, an innovative procedure. This interdisciplinary background equips the reader with the knowledge necessary to watch the performance, to witness its beauty, and to understand the ‘half words’ odún utters.
And now the performance can begin. The ‘voice’ emerges one last time, to introduce the second section, which presents two case studies. The reader is led, day by day, through the celebrations – odún edì, Morèmi’s story, and its realization in performance; then confrontation by the masks of the ancestors duing odún egúngún (particularly as held in Ibadan). The meaning of odún becomes clearer and clearer.
Odún is poetry, dances, masks, food, prayer. It is play ( eré) and belief ( ìgbàgbó). It is interaction between the players (both performers and spectators). It is also politics and power. It contains secrets and sacrifices. It is a reality with its own dimension and, above all, as the quintessential site of knowledge, it possesses the power to transform. In short, it is a challenge – a challenge that the present book and its voices take up.
is that the proper function of conventional patterns of verbal interaction is to help achieve mental coordination between conversing agents, i.e. , to help them produce and maintain a preferred correspondence between their individual representations of their shared mental states: beliefs, desires
‘total speech situation’ (cf. ibid. , p. 52 and p. 148), with respect to the ‘historical situation’ referred to. And what makes it the ‘right thing’, is not merely the participants’ belief (or even justified belief), but also, and primarily, how the world actually is. Austin’s theory of truth has been