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  1.  30
    The Drama of Ideas: Platonic Provocations in Theater and Philosophy.Martin Puchner - 2010 - Oxford University Press.
    Philosophy underwent a corresponding theatrical shift in the modern era, most importantly through the work of Kierkegaard, Nietzsche, Sartre, and Camus.
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  2.  34
    Doing Logic with a Hammer: Wittgenstein's Tractatus and the Polemics of Logical Positivism.Martin Puchner - 2005 - Journal of the History of Ideas 66 (2):285-300.
  3.  21
    Between Text and Performance Symposium on Improvisation and Originalism.Jeffrey M. Perl, Philip Gossett, Robert Levin, Jeffrey Kallberg, Steven E. Jones, Martin Puchner, Tiffany Stern, Mark Franko & Roger Moseley - 2011 - Common Knowledge 17 (2):221-230.
    This essay introduces a Common Knowledge symposium on the relationship between texts (for instance, musical scores or dramatic scripts) and performance in the arts by drawing out its implications for the interpretation of publicly consequential texts (such as constitutions, legal statutes, and canon law). Arguing that judges and clerics could learn much from studying the work of Philip Gossett and other practitioners of textual criticism in the arts, the essay suggests that a wider array of choices exists for legal interpretation (...)
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    Drama and Performance Toward a Theory of Adaptation.Martin Puchner - 2011 - Common Knowledge 17 (2):292-305.
    In theater studies, the dramatic text tends to be treated as a remnant of an older and even old-fashioned type of theater that has now been replaced by a “post-dramatic” theater, answering only to the logic of performance. Against that view, the article argues for the continuing importance of the dramatic text across different types of theater, including those termed post-dramatic. For what has changed in the case of theater groups such as the Wooster Group that are associated with post-dramatic (...)
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    Wittgenstein's Language Plays.Martin Puchner - 2015 - Philosophy and Literature 39 (1):107-127.
    Early on in the Philosophical Investigations, Wittgenstein lists various examples of the term Sprachspiel. He begins with “commanding and following commands” and ends with “asking a favor, thanking, cursing, greeting, praying,” all familiar ingredients of what we would now call a speech act theory of language. In the middle of this list, however, is an example that has received little attention: “playing theater”.1 With this formulation, Wittgenstein moves away from a focus on games such as chess, which have unduly dominated (...)
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