portada Postmodern Theater and the Void of Conceptions (en Inglés)

Postmodern Theater and the Void of Conceptions (en Inglés)

Formato

Libro Físico

Autor

William S. Haney II

Editorial

Cambridge Scholars Publishing

Año

2006

Idioma

Inglés

N° páginas

158

Encuadernación

Tapa Dura

Dimensiones

20.8x15.2x2.3 cm

Peso

0.41 kg.

ISBN

190430365x

ISBN13

9781904303657

Categorías

Estudios sobre teatro
Historia, teoría y crítica cinematográfica
Historia de las artes escénicas

Postmodern Theater and the Void of Conceptions (en Inglés)

William S. Haney II (Autor) · Cambridge Scholars Publishing · Tapa Dura

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Reseña del libro "Postmodern Theater and the Void of Conceptions (en Inglés)"

Different symbolic traditions have different ways of describing the shift of awareness toward sacred events. While not conforming to familiar states of phenomenality, this shift of awareness corresponds to Turner's liminal phase, Artaud's metaphysical embodiment, Grotowski's translumination, Brook's holy theater, and Barba's transcendent theater-all of which are linked to the Advaitan taste of a void of conceptions. This book argues that, by allowing to come what Derrida calls the unsayable, the theater of Tom Stoppard, David Henry Hwang, Caryl Churchill, Sam Shepard, Derek Walcott and Girish Karnad induces characters and spectators to deconstruct habitual patterns of perception, attenuate the content of consciousness, and taste the void of conceptions. As the nine plays discussed in this book suggest, the internal observer lies behind all cultural constructs as a silent beyond-ness, and immanently within knowledge as its generative condition of unknowingness. The unsayable (and the language used to convey it) that Derrida finds in literature has clear affinities with the Brahman-Atman of Advaita Vedanta. Derridean deconstruction contains as a subtext the structure of consciousness that it both veils with the undecidable trappings of the mind and allows to come as an unsayable secret through a play of difference. Although Derrida views theater and the text as mutually deconstructing and claims that presence or unity has always already begun to represent itself, the six playwrights discussed here show that cultural performance indeed points through its universally ambiguous and symbolic types toward a trans-verbal, trans-cultural wholeness.