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Humanism, Drama, and Performance

Unwriting Theatre

  • Book
  • © 2020

Overview

Authors:
  1. Hana Worthen

    1. New York, USA

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  • Considers three forms of humanist discourse—literary, dramatic, and liberal—that have structured the integration of theatre and theatrical performance into the dominant understanding of the arts today.

  • Extensive treatment of literary, theatrical, and philosophical figures: Aristotle, Martial, Tertullian, Augustine, Helene Weigel, Tonya Pinkins, Bertolt Brecht, Louis Althusser, Arvi Kivimaa, Julian Huxley, Anne Carson, Thomas Ostermeier, and Kristian Smeds/Smeds Ensemble.

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Table of contents (7 chapters)

  1. Front Matter

    Pages i-xiii
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  2. Introduction: Unwriting Theatre

    • Hana Worthen
    Pages 1-61

  3. Martial’s damnatio ad bestias

    • Hana Worthen
    Pages 63-97

  4. Augustine’s spectacula

    • Hana Worthen
    Pages 99-134

  5. Lessing’s Vermenschlichung

    • Hana Worthen
    Pages 135-163

  6. Pinkins’s Alienating Gestus

    • Hana Worthen
    Pages 165-196

  7. Kivimaa’s elävä humanismi

    • Hana Worthen
    Pages 197-242

  8. Disassembling Performance

    • Hana Worthen
    Pages 243-291

  9. Back Matter

    Pages 293-301
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Keywords

About this book

This book examines the appropriation of theatre and theatrical performance by ideologies of humanism, in terms that continue to echo across the related disciplines of literary, drama, theatre, and performance history and studies today. From Aristotle onward, theatre has been regulated by three strains of critical poiesis: the literary, segregating theatre and the practices of the spectacular from the humanizing work attributed to the book and to the internality of reading; the dramatic, approving the address of theatrical performance only to the extent that it instrumentalizes literary value; and the theatrical, assimilating performance to the conjunction of literary and liberal values. These values have been used to figure not only the work of theatre, but also the propriety of the audience as a figure for its socializing work, along a privileged dualism from the aestheticized ensemble—harmonizing actor, character, and spectator to the essentialized drama—to the politicized assembly, theatre understood as an agonistic gathering.   


 

Authors and Affiliations

  • New York, USA

    Hana Worthen

About the author

Hana Worthen is Associate Professor of Theatre and Performance Studies at Barnard College, Columbia University, USA, and an Associate Director of Barnard’s Center for Translation Studies. She writes from the intersections of theatre/performance humanism and critical posthumanism, human/animal rights and interspecies ethics, and transmedia and multiplatform performance.     
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