Advertisement

Philosophy and Drama

  • Lior Levy
Chapter

Abstract

Drama is a text written for performance. How do performances, which are particular and unstable, shape drama as a text? What is the relationship between the text and the performances it intends to generate? The testimonies of playwrights articulate what writing for performance means, which considerations guide the composition of such texts, and how do such considerations influence the character of dramatic texts. I examine the authority that drama has over performance by focusing on two analogies used in contemporary philosophical debates. The choice of analogy itself shapes our way of thinking about the relationship between texts and their implementation in performances. Finally, I turn to drama as a practice of writing for audiences, rather than readers, analyzing the activity that drama performs in addressing audiences.

Keywords

Drama Performance Text Audience Writing 

Bibliography

  1. Arendt, Hannah. 1958. The Human Condition. Chicago, IL: University of Chicago Press.Google Scholar
  2. Aristotle. 1995. Poetics. Edited and translated by Stephen Halliwell. Cambridge, MA: Harvard University Press.Google Scholar
  3. Badiou, Alain. 2015. In Praise of Theater. Translated by Andrew Bielski. Cambridge: Polity.Google Scholar
  4. Brecht, Bertolt. 1999. The Caucasian Chalk Circle. Translated by Eric Bentley. University of Minnesota Press.Google Scholar
  5. Carlson, Marvin. 1985. Theatrical Performance: Illustration, Translation, Fulfillment or Supplement? Theatre Journal 37 (1): 5–11.CrossRefGoogle Scholar
  6. Carroll, Noel. 2001. Interpretation, Theatrical Performance, and Ontology. The Journal of Aesthetics and Art Criticism 59 (3): 313–316.CrossRefGoogle Scholar
  7. Cole, Toby, ed. 1960. Playwrights on Playwriting. London: MacGibbon and Kee.Google Scholar
  8. Feagin, Susan L. 2016. Reading Plays as Literature. In The Routledge Companion to Philosophy of Literature, edited by Noell Carroll and John Gibson, 185–197. New York, NY: Routledge.Google Scholar
  9. Friedland, Louis S. 1964. Chekhov Letters on the Short Story the Drama and Other Literary Topics. London: Vision.Google Scholar
  10. Fuegi, John. 1994. The Life and Lies of Bertolt Brecht. New York, NY: HarperCollins.Google Scholar
  11. Gould, Thomas. 1990. The Ancient Quarrel between Poetry and Philosophy. Princeton, NJ: Princeton University Press.CrossRefGoogle Scholar
  12. Halpern, Richard. 2011. Theater and Democratic Thought: Arendt to Rancière. Critical Inquiry 37 (3): 545–572.CrossRefGoogle Scholar
  13. Hamilton, James R. 2007. The Art of Theater. Oxford: Blackwell.CrossRefGoogle Scholar
  14. Hamilton, James R. 2009. The Text-Performance Relation in Theater. Philosophy Compass 4 (4): 614–629.CrossRefGoogle Scholar
  15. Hasche, Christa, and Jutta Von Zitzewitz. 1999. Through the Minefield of Ideologies: Brecht and the Staging of Mutter Courage und ihre Kinder. Modern Drama 42 (2): 185–197.CrossRefGoogle Scholar
  16. Ibsen, Henrik. 1961. Hedda Gabler. New York: Appleton-Century-Crofts.Google Scholar
  17. Ibsen, Henrik. 2008. Four Major Plays. Translated by James McFarlane and Jens Arup. Oxford and New York, NY: Oxford University Press.Google Scholar
  18. Lennard, John, and Mary Luckhurst. 2002. The Drama Handbook. Oxford and New York, NY: Oxford University Press.Google Scholar
  19. Levy, Lior. 2017. The Image and the Act—Sartre on Dramatic Theater. In The Philosophy of Theatre, Drama and Acting, edited by Tom Stern. London: Rowman and Littlefield, 89–108.Google Scholar
  20. Nannicelli, Ted. 2011. Instruction and Artworks: Musical Scores, Theatrical Scripts, Architectural Plans, and Screenplays. British Journal of Aesthetics 51 (4): 399–414.CrossRefGoogle Scholar
  21. Rabkin, Gerald. 1985. Is There a Text on This Stage? Performing Arts Journal 9 (2/3): 142–159.CrossRefGoogle Scholar
  22. Rancière, Jacques. 2009. The Emancipated Spectator. Translated by Gregory Elliott. London and New York, NY: Verso.Google Scholar
  23. Rokem, Freddie. 2010. Philosophers and Thespians. Stanford, CA: Stanford University Press.Google Scholar
  24. Saltz, David Z. 2001. What Theatrical Performance Is (Not): The Interpretation Fallacy. The Journal of Aesthetics and Art Criticism 59 (3): 299–306.CrossRefGoogle Scholar
  25. Sartre, Jean-Paul. 1976. Sartre on Theater. Edited by Michel Contat and Michel Rybalka. New York, NY: Random House.Google Scholar
  26. Shakespeare, William. 2012. The Tempest. Edited by David Lindley. Cambridge University Press.Google Scholar
  27. Sophocles. 1998. Antigone, Oedipus the King and Electra. Translated by H.D.F. Kitto and edited by Edith Hall. Oxford and New York, NY: Oxford University Press.Google Scholar
  28. Thom, Paul. 2009. Works, Pieces, and Objects Performed. The Journal of Aesthetic Education 43 (3): 67–79.CrossRefGoogle Scholar
  29. Törnqvist, Egil, and Steene, Birgitta (eds. and trans.). 2007. Strindberg on Drama and Theatre. Amsterdam University Press.Google Scholar
  30. Willett, John. 1977. The Theatre of Bertolt Brecht. London: Methuen.CrossRefGoogle Scholar
  31. Worthen, William B. 1998. Drama, Performativity, and Performance. PMLA 113 (5): 1093–1107.CrossRefGoogle Scholar
  32. ———. 2010. Drama: Between Poetry and Performance. London: Blackwell-Wiley.Google Scholar

Copyright information

© The Author(s) 2018

Authors and Affiliations

  • Lior Levy
    • 1
  1. 1.University of HaifaHaifaIsrael

Personalised recommendations