Abstract
Theatre and philosophy share the problem of the ground. For the theatre, the ground is an existential problem: theatre must take place somewhere. As a consequence, the theatre takes over existing ground and installs itself there, or else it creates its own grounds, laying the foundation for specifically designed theatrical spaces. The question of where theatre takes place has been a highly charged matter.1 Greek tragedy originated in religious sites, around the altars to the God Dionysus. Japanese Kabuki theatre, by contrast, originated in the dry riverbeds of Kyoto, a place of disrepute. In London, the Globe Theatre, along with most other theatres, was forced to take residence outside the City of London on the South Side of the Thames.
This is a preview of subscription content, log in via an institution to check access.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Preview
Unable to display preview. Download preview PDF.
Works Cited
Barish, Jonas (1981): The Antitheatrical Prejudice, Berkeley: University of California Press.
Brownson, Carelton L. (1891): ‘Excavations by the Scholl at Eretria’, The American Journal of Archaeology and of the History of the Fine Arts, Vol. 7, No. 3, pp. 266–280.
Chaudhuri, Una (1995): Staging Place. The Geography of Modern Drama, Ann Arbor: University of Michigan Press.
Fischer-Lichte, Erika (2005): Theater, Sacrifice, Ritual. Exploring Forms of Political Theater, London: Routledge.
Heidegger, Martin (1950): ‘Der Ursprung des Kunstwerks’, in: Holzwege, Frankfurt a. M.: Vittorio Klosterman.
Heidegger, Martin (1957): Der Satz vom Grund, Pfullingen: Günther Neske.
Heidegger, Martin (1986): Sein und Zeit, Max Niemeyer Verlag: Tübingen.
Kirby, Michael (1972): ‘On Acting and Not-Acting’, The Drama Review, Vol. 16, No. 1, pp. 3–15.
Kottman, Paul A. (2007): A Politics of the Scene, Stanford: Stanford University Press.
Krauss, Rosalind (1979): ‘Sculpture in the Expanded Field’, October, Vol. 8, pp. 30–44.
Kwon, Miwan (2004): One Place after Another: Site-Specific Art and Location Identity, Cambridge: MIT Press.
Levine, David (2008): ‘Artist’s Journal. Bauerntheater’, Theater, Vol. 38, No. 1, pp. 31–51.
Oldenberg, Claes (1973): Raw Notes: Documents and Scripts for Performance, Nova Scotia College of Art and Design, p. 85.
Owens, Craig (1980): ‘The Allegorical Impulse: Toward a Theory of Postmodernism’, October, Vol. 12, pp. 67–86
Pearson, Mike and Shanks, Michael (2001): Theater/Archaeology. Disciplinary Dialogues, London: Routledge.
Rentsch, Thomas (1985): Heidegger und Wittgenstein. Existential-und Sprachanalysen zu den Grundlagen philosophischer Anthropologie, Stuttgart: Klett-Cotta.
Weber, Samuel (2004): Theatricality as Medium, New York: Fordham University Press.
Wilmeth, Don and Bigsby, C. W. E. (1998): The Cambridge History of American Theater, Vol. 3, Cambridge: Cambridge University Press.
Editor information
Editors and Affiliations
Copyright information
© 2014 Martin Puchner
About this chapter
Cite this chapter
Puchner, M. (2014). The Problem of the Ground: Martin Heidegger and Site-Specific Performance. In: Cull, L., Lagaay, A. (eds) Encounters in Performance Philosophy. Performance Philosophy. Palgrave Macmillan, London. https://doi.org/10.1057/9781137462725_4
Download citation
DOI: https://doi.org/10.1057/9781137462725_4
Publisher Name: Palgrave Macmillan, London
Print ISBN: 978-1-349-49911-3
Online ISBN: 978-1-137-46272-5
eBook Packages: Palgrave Theatre & Performance CollectionLiterature, Cultural and Media Studies (R0)