Illustrating how Merleau-Ponty’s enigmatic phenomenology lends itself beautifully to both theatrical and ecological analysis, this essay examines how his work heralds a call to engage with our world on an embodied, improvisatory level. Exploratory improvisation and Merleau-Ponty’s phenomenology mitigate notions of distance into a causal relationship towards engaging wholeness, by inviting the sensuous intimacies of interaction: with ourselves, with each other, with earth…. in distance, in proximity. Maurice Merleau-Ponty’s phenomenology must be embodied and experienced with a consciousness, an alertness and (...) perceptive awareness of the act of engagement. The call to action by Merleau-Ponty begets an improvisatory eco-theatre; however it is not a move towards environmental activism. This paper illustrates how improvisation is a means to experientially make clear this delineation, which is crucial to overcome the dichotomies of separation and otherness that have been so entrenched in the Western world. Re-engaging our sensitivity of improvising as tool for survival, in a world where our sensitivities are all too often socially-placated and dulled is where the work of Merleau-Ponty and where theatre can be an active tool for re-imagining a future, our future. Merleau-Ponty’s eco-theatre is holistic, is inclusive and is most definitely a form of activism : a phenomenology that, properly and fully grasped, can be embodied through a ‘theatrical’ practice, specifically through exploratory improvisation. (shrink)

This essay is a survey of positions on the relation between texts and performances in theater. It proposes a simple framework within which to compare and evaluate these positions. The framework also allows us to see a pattern of thinking that reflects the historical fact of the importance of the literary tradition in theater. The essay points out certain challenges facing the positions surveyed and concludes with a brief sketch of the most recent views that have been put on offer. (...) The latest positions re-situate the literary theater as a species of the more general phenomena of theatrical performance. (shrink)

The Bakhtin we know best is something of a lyricophobe and theatrophobe. This is surprising, since he loves the act of looking. His scenarios rely on visualized, collaborative communion. He cares deeply about embodiment. Does he care about the tasks that confront the actor? Not the improvising clown of carnival (carnival is theater only in the broad sense of performance art), but the trained artist who performs a play script on stage? In discussing these questions, this essay draws on two (...) suggestive places in Bakhtin’s writing where he addresses the actor’s art. One is from the mid-1920s; the other (1944), is on Shakespearean tragedy. If Bakhtin has a theatrical imagination, it will be found here. His grasp of an actor “living in” to a role and his comments on the evolution of the European stage cast his better-known ideas of dialogue, comedy, seriousness and the sacred into unexpected perspective. (shrink)

This article offers an analysis of the cognitive role of diagrammatic movements in the theater. Based on the recognition of a theatrical work’s inherent ability to provide new insights concerning reality, the article concentrates on the way by which actors’ movements on stage create spatial diagrams that can provide new insights into the spectators’ world. The suggested model of theater’s epistemology results from a combination of Charles S. Peirce’s doctrine of diagrammatic reasoning and David Lewis’s theoretical account of the truth (...) value of counterfactual conditionals. I argue that in several theatrical works – in particular those whose central image is dominated by movements – the relation of what Lewis names “comparative overall similarity” between the fictional and the actual world is based on diagrammatic homology. The cognitive process involved in deciphering them is, hence, based on diagrammatic reasoning. The main emphasis of the analysis is on the previously unnoticed but important cognitive role of observation in the theater: the idea that observation takes an active role in the reasoning process that enables the spectators to form new knowledge about their actual world. Samuel Beckett’s plays Quad and Come and Go serve here as case studies. (shrink)

The relationship between “character” and an “actor” appears to be quite straightforward: an actor acts as/plays character [x]. But let us be more specific and reword this formulation: actor [y] acts as/plays Hamlet. Or – for the time of the play – actor [y] is Hamlet. And it is this last statement that is paradoxically utterly true and utterly false. It is in the name of a theatrical character that the tension between actor and character arises. Asking, for example, who (...) is Hamlet? yields an answer where both actor and character have legitimate exclusive rights to being “Hamlet.” In short, to whom/what does the name of a theatrical character refer? By first arguing that theatre works as a reverse-“beetle” language-game, whereby I posit that theatre allows for private rule-making, I am able to turn to the idea of reference. It is by examining the name of theatrical characters and what these names refer to that I suggest that – following Hegel – theatrical names refer dialectically. Understanding theatrical characters as such, interpretation hinges not only on the output of theatre (i.e., the meaning), but also the input (i.e., the truth value). (shrink)

The crisis of climate change is a difficult phenomenon to conceptualize, particularly in light of how we experience time and how our consciousness works. It is an event that spans tense in ways that are difficult to pinpoint, and it provides no past precedent to shape our future anticipations. Furthermore, climate change encounters us at a moment when time also feels compressed. This paper explores climate change and its relationship to time by assessing how theatre, with its own phenomenologically unique (...) qualities of time and experience, has portrayed these tensions. Utilizing phenomenological theories of time from Husserl and Heidegger, and drawing on philosophical and cultural theories of presentism, this paper examines how these ideas manifest in two climate change plays: Moira Buffini, Matt Charman, Penelope Skinner, and Jack Thorne’s Greenland and Stephen Emmott’s Ten Billion. In conclusion, it is argued that theatre’s own conventions of time and space allows an inescapable present to exist, in which audiences are given a phenomenological experience of climate change that is otherwise unparalleled. (shrink)