Free ebooks ==> www.Ebook777.com www.Ebook777.com Free ebooks ==> www.Ebook777.com Tragedy and Dramatic Theatre An extraordinary milestone in Hans-Thies Lehmann’s contributions to theatre and performance scholarship, Tragedy and Dramatic Theatre plots a course through the history of dramatic thought Moving from Aristotle and Seneca through Shakespeare, Nietzsche, Heiner Müller and Sarah Kane, it forms an authoritative account of this core foundation of the dramatic arts Translated from the German, this volume traces tragedy from its philosophical roots to its inextricable relationship with drama and its impact upon post-dramatic forms Tragedy and Dramatic Theatre is the definitive work in its field, and essential reading for anyone interested in tragedy as an art form Hans-Thies Lehmann is Professor of Theatre at the University of Kent, President of the International Brecht Society, and a leading expert on Bertolt Brecht and Heiner Müller His groundbreaking study Postdramatic Theatre (1999) has been translated into more than twenty languages and has been pivotal to the theorization of contemporary international theatre and performance practice www.Ebook777.com This page intentionally left blank Tragedy and Dramatic Theatre Hans-T hies Lehmann Translated by Erik Butler Originally published by Alexander Verlag, Berlin 2014, all rights reserved Authorised translation from the English language edition published by Routledge, a member of the Taylor & Francis Group The translation of this work was supported by a grant from the Goethe-Institut which is funded by the German Ministry of Foreign Affairs Free ebooks ==> www.Ebook777.com First published 2016 by Routledge Park Square, Milton Park, Abingdon, Oxon OX14 4RN and by Routledge 711 Third Avenue, New York, NY 10017 Routledge is an imprint of the Taylor & Francis Group, an informa business © 2016 Hans-T hies Lehmann The right of Hans-T hies Lehmann to be identified as author of this work has been asserted by him in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988 All rights reserved No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloguing-in-Publication Data A catalog record for this book has been requested ISBN: 978-1-138-85261-7 (hbk) ISBN: 978-1-138-19196-9 (pbk) ISBN: 978-1-315-64019-8 (ebk) Typeset in Bembo by Wearset Ltd, Boldon, Tyne and Wear www.Ebook777.com Contents Introduction The theory of tragedy and theatrical experience Tragic experience and aesthetic experience Tragedy after drama “Dramatic tragedy” and the core tragic motif Overview Contemporary tragedy 11 Part I Theory/theatre/the tragic Palaia diaphora – an “old quarrel” between philosophical theory and tragedy Aristotelian themes: “mythos”, logos, catharsis, anagnorisis 19 Chorus, text, performance 21 Philosophy and tragedy: a rivalry 23 Plato, mimesis, the state 24 The anti-tragic theatre of philosophy 25 Phantasia and “seeing” 26 The ghostly, terror, death 28 Tragic experience 30 Distance and dis-dance, beyond form 30 Shape, artist, not speak! 32 The “vegetal” hero, experience, concept 32 “Stammerings in a foreign language” 34 Thinking on the stage 34 Approaches to the tragic The tragic mode 41 The tragic in everyday language and in the study of literature and theatre 45 17 19 41 vi Contents Aspects of the tragic 52 Two models: conflict and transgression 59 Versions of transgression 78 Casus Seneca: Tragedy and the hyperbole of revenge Hyperbole, nefas, furor 104 Revenge and the tragic theatre 106 “Medea fiam” 109 The subject as hyperbole 113 104 Theatre/experience and the tragic On the concept of experience 115 Aspects of tragic experience 121 Playacting and watching: homo spectator 144 Catharsis and anagnorisis 156 115 The model of Antigone Shaky order 178 Heidegger 183 Kinship and “prepolitical opposition” 185 177 Part II Drama and tragedy 191 The dramatization of tragedy On predramatic tragedy in antiquity 193 Dramatization and representation 206 The characteristics of dramatic theatre 210 The theatre of terror 228 The production of Othello 235 Dramatic tragedy and the tragic subject 239 193 Pure dramatic tragedy: Racine Neoclassical theory and practice 254 Racine, Lacan and the Imaginary 269 253 Tragoedia and Trauerspiel: Tragedy and mourning Play, tragedy, Trauerspiel 290 Mourning in antiquity and modernity 292 Baroque politics and theatre 292 Trauerspiel and dramatic tragedy 295 287 Contents vii Crises of dramatic tragedy: Schiller, Hölderlin, Kleist Enlightenment and the tragic motif 299 Schiller 305 Hölderlin 330 Kleist 346 299 Part III Dramatic and postdramatic tragedy 359 10 The dissolution of the dramatic: Lyric tragedy Maurice Maeterlinck 368 Turning away from dramatic dialogue 371 The tragic of the everyday 372 Hugo von Hofmannsthal 378 William Butler Yeats 381 361 11 Tragedy and postdramatic theatre Historical avant-gardes: Artaud, Reinhardt, Brecht 390 “The death of tragedy” 400 Insistence on the tragic 405 Death of tragedy? 410 The subject and the tragic 417 Tragic theatre today 423 “Tragedy of play”, caesura and ritual 438 390 Index 451 This page intentionally left blank Free ebooks ==> www.Ebook777.com Introduction The theory of tragedy and theatrical experience Today, anyone venturing upon the terrain of tragedy, a field difficult to navigate and well travelled, faces an enormous body of literature that can hardly be surveyed The author must, to begin with, provide the reader with initial clarification of motifs and terminology (tragedy, the tragic, tragic experience, Trauerspiel, and so on) which he means to treat, somehow, in a different manner than his predecessors The first item concerns the fact that a considerable portion of extant theories of tragedy could have been written as they stand if a theatre of tragedy had never existed at all This holds even for Aristotle, who, as everyone knows, explicitly declared that opsis (that is, the visible component of a production) represents a matter of secondary importance – the least artful and least valuable part of tragedy For Aristotle, the staged event is basically superfluous Ever since, the European intellectual tradition has held that something about the theatre “gets in the way”, even if theatre itself counts as a refined endeavour What gets in the way of the theatre is . theatre Aristotle boldly declared it necessary only for those of lesser intelligence, parties who not like to think on their own Mimesis, the childish joy of recognition, so to speak seduces people to engage in thought In contrast, the cerebral individual – the philosopher – requires no such inducements: Learning gives great pleasure not only to philosophers but likewise to others too, though the latter have a smaller share in it This is why people enjoy looking at images, because through contemplating them it comes about that they understand and infer what each element means, for instance that “this person is so-and-so”.1 This book seeks to bring back the theatrical dimension to the discussion of tragedy and even to demonstrate its centrality To a great extent, the position taken by theorists who affirm the logos of the text – against the theatre itself – has created definitions of tragedy and the tragic that derive solely from the www.Ebook777.com 444 Dramatic and postdramatic tragedy altogether Certainty of what “acting” [Handeln] even means disappears Without such interruption of the aesthetic itself – which, it bears repeating, possesses an enormous range of possibilities – tragedy would remain what it is least supposed to be: a museum-piece of educated culture [Museum und Bildungsgut] Postdramatic theatre poses the question of tragedy not just by showing “tragedy of play”, but by being it That, where it succeeds, may be called postdramatic tragedy Notes Artaud, The Theatre and Its Double, 133–41 Cf Hannelore Kersting and Bernd Vogelsang (eds), Raumkonzepte Konstruktivistische Tendenzen in Bühnen- und Bildkunst 1910–1930 (Frankfurt am Main: Städtische Gallerie im Städelschen Kunstinstitut, 1986), 84 Steiner, The Death of Tragedy, 345 Ibid., 345 and 350 One might ask, for example, the extent to which Kattrin’s act of rescue is to be understood as tragic; because she is mute, her drumming represents a “language” of signaling beyond human speech, which results in her self-sacrifice Cf Lehmann, Das Politische Schreiben, 250–60 Bertolt Brecht, Fatzer, in Gesammelte Werke, Große kommentierte Berliner und Frankfurter Ausgabe, ed Werner Hecht, Jan Knopf, Werner Mittenzwei, and Klaus-Detlef Müller, Volume 10: Stücke 10 Stückfragmente und Stückprojekte – Part (Berlin/Weimar and Frankfurt am Main: Suhrkamp/Insel, 1997), 387–529; here 455f Cf Lehmann, Das Politische Schreiben, 261–77 Incidentally, this was not just a model for learning-plays, but a concrete problem for Brecht: didn’t the Communist Party lose [verspielen] its political chances by exercising too much tactical prudence? Cf Reiner Steinweg (ed.), Brechts Modell der Lehrstücke (Frankfurt am Main: Suhrkamp, 1976) 10 Quoted ibid., 58 11 Jean Baudrillard, Symbolic Exchange and Death, trans Iain Hamilton Grant (London: Sage, 1993), 129 12 Bertolt Brecht, Collected Plays, Volume 3, 38 13 Ibid., 34 14 Brecht, Fatzer, 512 15 Brecht, Collected Plays, Volume 3, 41 16 Bertolt Brecht, Poems 1913–1956 (London: Methuen, 1976), 451 17 Theodor W Adorno, “Commitment”, Notes to Literature, Volume 2, 76–94; here 84 (translation slightly modified) 18 Adorno, Aesthetic Theory, 43–4 19 Nikolaus Müller-Schöll, “Das epische Theater ist ‘uns’ (k)eine Hilfe Brechts Erfindung eines Theaters der Potentialität”, in Michel Vanoosthuyse (ed.), Brecht 98 Poétique et Politique/Poetik und Politik (Montpellier: Presses Universitaires de la Méditérranée, 1999), 43–54 20 Brecht, Collected Plays 3, 4; translation slightly modified 21 Émile Durkheim, The Elementary Forms of the Religious Life, trans Karen E Fields (New York: Free Press, 1995), 225 22 Ibid., 371 23 Ibid., 378 Tragedy and postdramatic theatre 445 24 Ibid., 379 25 Ibid 26 Ibid., 399 27 Ibid., 400 28 Ibid., 228 29 Ibid., 401 30 The extent to which the tragic occurs in works by Robert Wilson or Forced Entertainment merits a separate discussion 31 Jean-Paul Sartre, Un théâtre de situations (Paris: Gallimard, 1973), 56 (“Tragedy, for us, is a historical phenomenon that triumphed between the sixteenth and eighteenth centuries And we have no desire to revive it.”) 32 Jean Anouilh, Antigone (Paris: Table Ronde, 1946), 55f It’s neat, tragedy, neat and tidy It’s relaxing, it’s certain. . . Now drama’s different . all those villains, imperiled innocence, unyielding vengeance, last- minute revelations, glimmers of hope – dying becomes horrible, like an accident [. . .] Tragedy’s calm There are no sudden surprises Everybody’s innocent, after all! It’s not that one person does the killing and another one gets killed It’s a matter of economy [. . .] It’s all for free It’s kingly and, let’s face it, there’s not a lot else you can do (Antigone, trans Jeremy Sams, New York: Samuel French, 2002, 22–3; translation modified) 33 Fred Lönker, “Der Verfall des Tragischen”, in Frick, Die Tragödie Eine Leitgattung der europäischen Literatur, 326 34 Eugène Ionesco, “Notes on the Theatre”, in Richard Drain (ed.), Twentieth- Century Theatre: A Sourcebook (London: Routledge, 1995), 53 35 Adorno, Aesthetic Theory, 326 36 Theodor W Adorno “Is Art Lighthearted?”, Notes to Literature, Volume 2, trans Shierry Weber Nicholsen (New York: Columbia University Press, 1992), 252–3 37 Ibid., 253 38 Georg Lukács, Theory of the Novel, 41 39 Michel Foucault, “A Preface to Transgression”, Language, Counter-memory, Practice: Selected Essays and Interviews, ed Donald F Bouchard (Ithaca: Cornell University Press, 1977), 29–52 40 Marianne Schuller, Moderne Verluste Literarischer Prozeß und Wissen (Basel and Frankfurt am Main: Stroemfeld, 1997), 129 41 Cahiers de l’Étudiant no 1, spring 1942 42 Roland Barthes, “Culture et tragédie Essais sur la culture”, Oeuvres complètes, vol. I: 1942–1961 (Paris: Seuil, 2002) (“In this sense, tragedy is opposed to drama; it is an aristocratic genre that requires great understanding of the universe, deep clarity about the essence of man.”) 43 Ibid 44 Schmitt, Hamlet or Hecuba, 40: “It is with Shakespeare’s Trauerspiel, whose ‘play’ character also appears in the so-called ‘tragedies,’ that we can least afford to ignore the unplayability of the tragic.” 45 Lukács, Entwicklungsgeschichte, 113 46 Ibid., 114 47 Peter Handke, Geschichte des Bleistifts (Salzburg: Residenz, 1982), 230 48 Ibid., 235 49 Ibid., 238 446 Dramatic and postdramatic tragedy 50 Hans-Thies Lehmann, “Peter Handkes postdramatische Theaterästhetiken”, in Die Arbeit des Zuschauers Peter Handke und das Theater, ed Klaus Kastberger and Katharina Pektor (Salzburg: Jung und Jung, 2012), 67–74 51 Howard Barker, Arguments for a Theatre (Manchester: Manchester University Press, 1997), 182 52 Ibid., 9 53 Ibid., 114 54 Ibid., 18 55 Ibid., 19 56 Ibid., 17 57 Ibid., 189 58 Gaetano Biccari, “Zuflucht des Geistes”? Konservativ-revolutionäre, faschistische und nationalsozialistische Theaterdiskurse in Deutschland und Italien 1900–1944 (Tübingen: Narr, 2001) 59 Kaufmann, Tragedy and Philosophy, 358 60 Botho Strauß, “Anschwellender Bocksgesang”, Der Aufstand gegen die sekundäre Welt – Bemerkungen zu einer Ästhetik der Anwesenheit (Munich: Hanser, 1999), 55–76 61 Ibid., 59 62 Ibid., 67 63 Steiner, Death of Tragedy, 350 64 Raymond Williams, Modern Tragedy (London: Verso, 1979), 100 65 Ibid., 121 66 Ibid., 138 67 Cf ibid., 74 68 Ibid., 13 69 Ibid., 87 70 Cf ibid., 44f 71 Ibid., 214 72 Ibid., 214 and 216 73 Cf ibid., 59 74 Lionel Abel, Tragedy and Metatheatre: Essays on Dramatic Form (New York: Holmes & Meier, 2003) 75 Cf Lehmann, Postdramatic Theatre, 178ff 76 Lucien Goldmann, Le dieu caché; étude sur la vision tragique dans les Pensées de Pascal et dans le théâtre de Racine (Paris: Gallimard, 1955) 77 Elinor Fuchs, The Death of Character: Perspectives on Theater After Modernism (Bloomington: Indiana University Press, 1996) 78 Eduardo Cadava, Peter Connor and Jean-Luc Nancy (eds), Who Comes After the Subject? (New York and London: Routledge, 1991), 96f 79 Hölderlin, Werke und Briefe II, 785 80 Bernard Guillem, “Was arbeiten Sie? Gespräch mit Bert Brecht”, in Hubert Witt (ed.), Erinnerungen an Brecht (Leipzig: Reclam, 1964), 47 81 It seems more appropriate to employ the terminology of Deleuze and Guattari to describe the displacement that leads from the dramatic to the postdramatic dispositive of the subject Dramatic subjectivization is accounted for by the concept of “faciality” (cf Deleuze and Guattari, Thousand Plateaus, 185ff.): the human being is his/her unmistakable [unverwechselbar] face; postdramatic “deterritorialization”, in contrast, leads to the limits of determinable “form”, to “deformation” [Entstaltung], to employ Benjamin’s term, which encompasses language as much as the subject 82 Horkheimer in Hans Ebeling (ed.), Subjektivität und Selbsterhaltung Beiträge zur Diagnose der Moderne (Frankfurt am Main: Suhrkamp, 1976), 56 Tragedy and postdramatic theatre 447 83 Maurizio Lazzarato, “Immaterial Labor”, in Michael Hardt and Paolo Virno (ed.), Radical thought in Italy: A Potential Politics (Minneapolis: University of Minnesota Press, 1996), 133–46 84 Paolo Virno, A Grammar of the Multitide: For an Analysis of Contemporary Forms of Life, trans Isabella Bertoletti, James Cascaito and Andrea Casson (Cambridge: MIT Press, 2004), 83 85 Ibid., 84–5 86 Nancy, Being Singular Plural, 1 87 Ibid., 28 88 Benjamin, Arcades Project, 804 89 Walter Benjamin, Gesammelte Schriften (Frankfurt am Main: Suhrkamp, 1977), II, 1282 90 Cf Lehmann, Das Politische Schreiben, 213ff 91 Cf also Lehmann, Das Politische Schreiben, 192–211 92 Schleef, Droge Faust Parsifal, 9 93 Müller, “Ajax zum Beispiel”, Werke, Volume 1: Die Gedichte, 293 94 Schleef, Droge Faust Parsifal, 276f 95 Christina Schmidt, Tragödie als Bühnenform Einar Schleefs Chor-Theater (Bielefeld: transcript, 2010) 96 Hans-Thies Lehmann, “Postdramatische Tragödie Anmerkungen zum Theater von Tadeusz Kantor”, in Uta Schorlemmer (ed.), Kunst ist ein Verbrechen Tadeusz Kantor, Deutschland und die Schweiz (Nuremberg: Verlag für moderne Kunst, 2007), 398–409 97 Monique Borie, Le Fantôme ou le Théâtre qui doute (Paris: Actes Sud, 1977), 257 (“ ‘What remained is a nostalgic state, awareness of our defeat.’ That is what Greek tragedy fed from, and today, for Kantor, it represents the only chance, the real cause, for artistic creation.”) 98 Raymond Williams declares that the tragic is “ultimate recognition of defeat” (Modern Tragedy, 87) In turn, David B Morris affirms: “Permanent defeat is the vision of tragedy” (The Culture of Pain, 261); and: “The body is always the site of defeat in tragedy” (262) Joyce Carol Oates’s reflection is interesting – that boxing offers “a modern remnant of ancient tragic drama” (261), indeed, that it represents “America’s tragic theater” (257) In boxing, as in classical tragedy, downfall and death are not matters of chance, but “almost mathematical” A series of events leads, as if by necessity, to destruction However, there is still another element, which is missing in this account: the failure of calculation Whereas events as a whole [das Geschehen als Ganzes] proceed with mathematical-seeming precision, errors, slips, mistaken judgment, deception and self-deception intervene at key points, which introduce an irreducible element of arbitrariness and absurdity If tragedies are too well “calculated”, tragic experience also risks slipping away (as the example of Lessing shows) All the same, tragedy does have a mathematical and calculable aspect – which interested Hölderlin, for example However, it comes across in the formal law [durch das Formgesetz] of tragedy, not in the dramaturgical “logic” or the logic of characters’ thoughts For Oates, the boxer is to be understood as a “tragic hero” (262) Reflecting on victory and defeat, she writes that what counts is “the moment – mystical, universal” (261) – when one of the fighters wavers and is about to fall “The defeat of one man is the triumph of the other: but we are apt to read this ‘triumph’ as merely temporary and provisional Only defeat is permanent” And even though sunken ships, slaughtered armies and incinerated cities have terrible effects on states and communities, tragedy – mediated via the centrality of the body – “always” shows “the defeat of the solitary human figure” (262) The reason for tragic downfall lies in the “active” gesture of overstepping, which “constitutes” the hero and summons 448 Dramatic and postdramatic tragedy forth doom at the hands of the gods, or through fate In this sense, tragedy is an experience of defeat, combined with a moment of “heroic” resistance The fact that boxing, as a sport, involves striking the adversary down also sets it in opposition to the cultural codes of modern society 99 In Denis Bablet (ed.), Tadeusz Kantor Le Théâtre de la Mort (Lausanne: Âge d’homme, 1977), 118 (“Aversion/apathy/lack of will/boredom/monotony/ banality/ridicule/indifference/vegetal state, emptiness.”) 100 Ibid., 88 101 Helene Varopoulou, “The Crying Body – L’âme et le corps: Le Baroque insolite de Jan Fabre”, Alternatives Théâtrales 85/86 (2005): 96 102 Cf Arnd Wesemann, Regie im Theater Jan Fabre (Frankfurt am Main: Fischer, 1994), 21 103 Mount Olympus 104 Hans-Thies Lehmann, “Wenn Wut zur Form gerinnt”, in Sigrid Bousset (ed.) Jan Fabre: Texts on his Theatre-work (Brussels and Frankfurt am Main: Kaaitheater/ Theater am Turm, 1993), 123–42 105 In this context one should recall the works of the prematurely deceased director and playwright Reza Abdoh, who presented images with such intensity and disorienting lack of context that the spectator was constantly overwhelmed [permanent überfordert]: it proved impossible to synthesize all the elements of productions, which incorporated homosexuality, “camp”, and various subcultures all transgressing culturally established norms 106 The Socìetas Raffaello Sanzio was founded by two pairs of siblings: Claudia and Romeo Castellucci, and Chiara and Paolo Guidi In recent years, Claudia and Romeo Castellucci have stopped working together 107 Freddie Rokem, Theatrical Space in Ibsen, Chekhov and Strindberg: Public Forms of Privacy (Ann Arbor: University of Michigan Press, 1986) 108 Bruno Tackels, Les Castellucci, Ecrivains de Plateau (Besanỗon: Les Solitaires intempestifs, 2005), 29 (“swallowed and regurgitated by the organic mass of the stage”) 109 Ibid., 41 (“It is a matter of dissecting the density of tragic matter inhabiting Greek theater to show its innermost – and therefore least visible – nerve.”) 110 Franco Quadri in La Repubblica, 11 February 1992 111 Tackels, Les Castellucci, 34f (“ ‘Actor’: the word isn’t precise His perfect ‘passion’ is – it recognizes passivity in the form of hubris.”) 112 Theorists such as Joe Kelleher and Nicolas Ridout collaborated, as well; their accounts merit particular emphasis here 113 Tackels, Les Castellucci, 42f (Tragedy conceived in this way [separate from any chorus, and therefore without any commentary, without any translation/explication of what takes place at this place] bares itself entirely as a brute fact, brutally factual, returned to an originary violence scarcely to be tolerated, exposed precisely where, customarily, it is dressed-up and changed by being told as a tale [. . .] Incredibly compelling, physically, is the presence of a chariot penetrating theatrical space. . . No history, no commentary, no lesson, no pathos at all: in a few minutes, all the heart of Europe as a whole lights up, a site of shadows [. . .] However, the work of the Societas does not restrict itself to only this gesture of reduction, to extract the barest bone.) 114 Nikolaus Müller-Schöll in Hans-Thies Lehmann and Patrick Primavesi (eds), Heiner Müller Handbuch – Leben – Werk – Wirkung (Stuttgart: Metzler, 2003), 82 115 Heiner Müller, Gesammelte Irrtümer Interviews und Gespräche (Frankfurt am Main: Verlag der Autoren, 1968), 138 Tragedy and postdramatic theatre 449 116 Heiner Müller quoted in Nikolaus Müller-Schöll and Heiner Goebbels (eds), Heiner Müller sprechen (Berlin: Theater der Zeit, 2009), 84 117 Müller, Werke, Volume 1: Die Gedichte, 297 118 Müller-Schöll, Heiner Müller sprechen, 82 119 It surely has something to with the fact that, in the order of the drama, no difference is made between the living and the dead, or in terms of hierarchy The dead are just as present as the living, and the masks, after all, were just signs that the dead can speak [daß Tote sprechen] The Persians is the only Greek tragedy set in the present [ein Zeitstück] After that, only the dead take the stage – only mythology [nur noch Mythos]; here were the living, and the dead numbered among them [hier waren es Lebende, und die Toten gehörten dazu] (Müller, “Aischylos übersetzen”, Werke, Volume 1: Die Gedichte, 24) 120 Hans-Thies Lehmann, “Zwischen Monolog und Chor Zur Dramaturgie Heiner Müllers”, in Heiner Müller: Probleme und Perspektiven Bath-Symposion 1998 (Amsterdam and Atlanta: Rodopi, 2000), 11–26 121 Anthony Kubiak, Stages of Terror: Terrorism, Ideology, and Coercion as Theatre History (Bloomington: Indiana University Press, 1991) 122 Heiner Müller, Krieg ohne Schlacht Leben in zwei Diktaturen (Cologne: KiWi, 1992), 227 123 Heiner Müller, “Wolokolamsker Chaussee III: Das Duell”, Shakespeare Faktory (Berlin: Rotbuch, 1994), 225 124 Sarah Kane, Complete Plays (London: Bloomsbury Methuen, 2001), 205 125 Ibid., 243 126 Ibid., 244f 127 Franziska Schưßler, “Wiederholung, Kollektivierung und Epik Die Tragödie bei Sarah Kane, Anja Hilling und Dea Loher”, in Fulda and Valk, Die Tragödie der Moderne, 319–37, esp. 321ff 128 Ibid., 326 129 Matthias Warstat, Krise und Heilung Wirkungsästhetiken des Theaters (Munich: Fink, 2011) 130 Especially Christoph Menke, Die Gegenwart der Tragödie Versuch über Urteil und Spiel (Frankfurt am Main: Suhrkamp, 2005) 131 Cf Menke, Die Gegenwart der Tragödie, 153f and n. 84 132 Ibid 133 Ibid., 62 134 Bertolt Brecht, Schriften zum Theater Über eine nicht-aristotelische Dramatik (Frankfurt am Main: Suhrkamp, 1957), 30 135 Victor Turner, “Frame, Flow, and Reflection: Ritual and Drama as Public Liminality”, Japanese Journal of Religious Studies 6.4 (1979): 465–99; cf Victor Turner, From Ritual to the Theatre: The Human Seriousness of Play (New York: Performing Arts Journal Publications, 1982): In our society we might see the “Theater of the Absurd” of Ionesco, Arrabal, and Beckett as “liminal”, though I would prefer the term “liminoid”, however gratingly neologistic, as being at once akin and perhaps deriving from the liminal of tribal and feudal rituals, and different from the liminal as being more often the creation of individual than of collective inspiration (113) 136 It may not be a matter of coincidental historic irony that the great nineteenth- century postdramatic conceptions of tragedy and the tragic – Kierkegaard, Schopenhauer, Nietzsche – coincided with the form of drama declining and becoming problematic Likewise, Gustav Freytag’s Technique of the Drama 450 Dramatic and postdramatic tragedy appeared when authors already sensed what Peter Szondi has called the “drama in crisis” Nor is it by chance that, before any of this, Hölderlin’s radical conception of tragedy did not lead to the completion of the Empedocles-drama; this was not, as is all too easily claimed, because he failed in his mission, but because – as Theresia Birkenhauer (Legende und Dichtung Der Tod des Philosophen und Hölderlins Empedokles, Berlin: Vorwerk 8, 1996) has argued – he reached out over drama itself 137 Menke and Menke, Tragödie – Trauerspiel – Spektakel, 13 Index 4.48 Psychosis (Kane) 436–7 Abel, Lionel 226, 366, 416 Abraham 73 Abramović, Marina 400 Adam, Antoine 258 Addison, Joseph 301 Adorno, Theodor W 29, 33, 37, 42, 44, 120, 128, 143, 160, 224–5, 309, 369, 397–8, 402–3, 405, 408, 419–20 Aeschylus 9, 46, 59, 118, 153–4, 194–6, 204, 205, 206, 209, 218, 226, 233, 364, 375 Aesthetic Theory (Adorno) 224–5 Aesthetics (Hegel) 60, 307 Agamemnon (Aeschylus) 46, 72, 134, 226 Ajax 71, 72, 134, 233 Ajax zum Beispiel (Schleef ) 426 Alchemist, The (Jonson) 226 Althusser, Louis 417 Ambrosius 123 Amphitryon (Kleist) 350, 351 Anaximander of Miletus 79, 80, 81 Andromaque (Racine) 264, 267, 268 Anmerkungen zu Antigonä (Hölderlin) 344–5 Anmerkungen zu Oedipus (Hölderlin) 330–1, 332–5 Annunzio, Gabriele d’ 390 Anouilh, Jean 186, 401, 412 Anschwellender Bocksgesang (Strauß) 409 Antigone 30, 60, 65, 71–2, 92–5, 134, 140, 154–5, 157, 177–90, 275, 424, 435 Antigone (Anouilh) 412 Antiochus 60 Antony and Cleopatra (Shakespeare) 225 Apollo 78 Aquinas, Thomas 212 Archilochus 201 Arendt, Hannah 148, 152 Aristophanes 122 Aristotle 1, 19–22, 23, 32, 34, 36, 37, 45–6, 47, 48, 51, 52, 53, 54, 57, 58, 64–5, 81, 88, 121, 132, 147, 156, 157–8, 159, 160, 163–7, 194–5, 206, 208, 212, 216–17, 219, 221, 224, 228, 240, 243, 245, 258, 293, 302, 304, 347, 349, 364, 429 Artaud, Antonin 37–8, 75, 87, 89, 167, 206, 345, 347, 374, 391, 407, 416, 430, 431, 432, 436 Arturo Ui (Brecht) 214 Ästhetik des Schreckens (Bohrer) 56–7 At the Hawk’s Well (Yeats) 383 Athalie (Racine) 303, 416 Athena 108 Athens 9, 22, 105, 137, 212, 404 Attempt at Self-Criticism (Nietzsche) 403–4 Aubignac, Abbé d’ 254–5, 257–8 Augustine 123 Bacchae 204, 416 Bach, Johann Sebastian 162 Bacon, Francis 57 Baden-Baden Lesson on Consent, The (Brecht) 394–6 Badiou, Alain 419 Balinese 38 Barish, Jonas 28 Barker, Francis 230 Barker, Howard 406, 407–9 Barthes, Roland 361, 404–5 Bataille, Georges 61, 70, 74, 82–91, 92, 93, 94, 103n160, 280, 341, 400, 403, 433 452 Index Baudelaire, Charles 10, 57, 225 Baudrillard, Jean 138, 394, 395 Bausch, Pina 400 Bayerdörfer, Hans-Peter 364 Beaumarchais, Pierre 302 Beckett, Samuel 6, 43, 131, 132, 369, 400, 412, 415 Belsey, Catherine 234 Bely, Andrei 364 Benjamin, Walter 4, 45, 57, 79, 83, 116, 125, 137, 141, 147, 158, 161, 162, 182, 199, 219, 222–3, 225, 226, 253, 287, 288–90, 292, 293, 296, 297, 300, 361, 403, 422, 432, 441 Bentham, Jeremy 139 Bérénice (Racine) 60, 258 Beuys, Joseph 12 Bierl, Anton 12, 194 Biet, Christian 228, 229, 294, 411 Binder, Wolfgang 156, 336–7, 337–8 Birkenhauer, Theresia 339–40 Birth of Tragedy, The (Nietzsche) 79, 403–4 Blake, William 87 Blanchot, Maurice 91 Bleeker, Maaike 221–2 Bloch, Ernst 126, 160, 334 Böhme, Gernot 147 Bohrer, Karl Heinz 41, 43–4, 48, 55, 56–7, 58–9, 64, 84, 142, 166, 379 Boileau, Nicolas 255 Bollack, Jean 30, 50 Bonnard, Pierre 365 Borie, Monique 427–8 Bosch, Hieronymus 428 Braudel, Fernand 434 Brecht, Bertolt 5, 6, 21, 58, 73, 94, 127, 140–1, 142, 152–3, 156, 186, 202, 206–7, 209, 211, 214, 225, 241, 287, 297, 326, 328–9, 337, 343, 390, 392–9, 400, 402, 407, 414, 416, 419, 428, 434–6, 441 Breughel, Pieter 428 Briefe über die Empfindungen (Mendelssohn) 301–2 Broken Jug, The (Kleist) 347, 351 Brook, Peter 207, 337 Brunelleschi, Filippo 221 Büchner, Georg 8, 46, 51, 61, 116, 352, 379, 419 Butler, Judith 142–3, 185, 186–8 Butler, Philip 268 Caillois, Roger 400 Calderón de la Barca, Pedro 58 Calderwood, James L 232–3 Calle, Sophie 400 Calvino, Italo 52 Campe, Rüdiger 342–3 Camus, Albert 412 Carolus Stuardus (Gryphius) 293 Castellucci, Claudia 431 Castellucci, Romeo 430–4 Castorf, Frank 427 Cavell, Stanley 127–8, 132, 151, 173n107, 224 Chétouane, Laurent 425 Churchill, Caryl 416 Cicero 76 Cinna (Corneille) 266 Claudius 110, 225, 233 Cleansed (Kane) Cleansed (Schưßler) 438 Clytemnaestra 72, 134 Coleridge, Samuel Taylor 238 Collège de Sociologie 399–400 Conflict of the Faculties (Kant) 325–6 Cordelia 234 Corneille, Pierre 4, 109, 242, 253, 254, 255, 258, 260, 261, 263, 264, 277, 295, 299, 416 Craig, Edward Gordon 131, 371, 376 Creon 48, 65, 94, 118, 177–8, 179, 180, 181–2, 185, 186, 187 Critique of the Power of Judgement (Kant) 319 Critische Dichtkunst (Gottsched) 134 Crying Body, The (Fabre) 141 “Culture et tragédie Essai sur la culture” (Barthes) 404–5 Dalí, Salvador 151 Danaids 195 Das absolute Präsens (Bohrer) 57 Das Tragische (Bohrer) 56–7 De la poésie dramatique (Diderot) 44 Death of Character, The (Fuchs) 418–19 Death of Cuchulain, The (Yeats) 383–4 Death of Empedocles, The (Hölderlin) 324–5, 336, 339–40, 340–1, 342–4 Death of Empedocles, The (Hölderlin) 11 Death of a Salesman (Miller) 46, 62, 117 Death of Tragedy, The (Steiner) 401–2, 413 Debussy, Claude 361, 372 Dedalus, Stephen 156 Deirdre (Yeats) 381, 382–3, 384–5, 390 Index 453 Deleuze, Gilles 30, 314, 315, 316, 317, 381, 417 Demetrius (Schiller) 317, 318 Der Park (Strauß) 409 Derderian, Katharine 292 Derrida, Jacques 36, 37–8, 76, 77, 86, 185, 312, 417, 418, 419 Descartes, René 77, 276 Dialectic of Enlightenment (Adorno and Horkheimer) 419–20 Diderot, Denis 24, 44, 152, 302, 303–4 Dionysos 53, 57, 78, 79, 134, 135, 137, 160–1, 193, 199, 403–4 Doctor Faustus (Marlowe) 60, 72, 246 Don Carlos (Schiller) 308–9, 317, 318, 321 Dostoevsky, Fyodor 10, 51 Dr Faustus (Marlowe) 60 Draper, Ronald P 118–19 Duchess of Malfi (Webster) 232 Dupont, Florence 104, 105–6 Durkheim, Émile 399–400 Dürrenmatt, Friedrich 6, 402 Eagleton, Terry 44, 96, 96–7n13, 301 Ehrenberg, Alain El Cid (Corneille) 264, 266 Elektra (Hofmannsthal) 380–1, 390 Eliot, T S 232, 390, 412 Emilia Galotti (Lessing) 44, 130, 305 Epistemo-Critical Prologue (Benjamin) 287 Ernst, Paul 307, 390 Esposito, Roberto 89–90 Essai sur l’origine des langues (Rousseau) 76–7 Essay on the Tragic, An (Szondi) 47–9 Étéocle 277–8 Euler, Leonhard 349 Euripides 46, 60, 89–90, 109, 122, 204, 205, 206, 215, 218, 233 Fabre, Jan 141, 400, 412, 428–30, 432, 434 Fairy and Folk Tales of the Irish Peasantry (Yeats) 382 Faust (Pessoa) 365 Fenollosa, Ernest 381 Fiesco (Schiller) 323–4 Fiesko 74 Fiorentino, Francesco 136–7 Flannery, James 128 Flight Across the Ocean (Brecht) 73 Foakes, Reginald A 230–1 Ford, John 223, 243 Forsythe, William 163 Foucault, Michel 73, 77, 128, 215, 229, 403, 420 Four Plays for Dancers (Yeats) 381 France 58–9 Freud, Sigmund 29, 73, 84, 89, 92, 124, 130, 158, 273, 328, 408 Frick, Werner 346–7 Fried, Michael 303 Fuchs, Elinor 418–19 Fugard, Athol 412 Fuhrmann, Manfred 194–5 Fulda, Daniel 377 Furies, the 108, 113 Gadamer, Hans-Georg 44 Galle, Roland 302–3 Geertz, Clifford 138–9 Gellrich, Michelle 227–8 Germania Tod in Berlin (Müller) 434 Germany 42, 58, 296, 391 Gertrude: The Cry (Barker) 407 Geschichte des Bleistifts (Handke) 406 Gespräch über Gedichte (Hofmannsthal) 90–1 Gestern (Homannsthal) 380 Girard, René 89–90, 234–5, 409, 432 Giraudoux, Jean 281 Goethe, Johann Wolfgang von 51, 60, 123, 157, 310, 318, 347, 416 Goldmann, Lucien 417–18 Gonne, Maud 382 Gotscheff, Dimiter 426 Gottsched, Johann Christoph 132, 134 Gracián, Baltasar 224 Great Lisbon Earthquake (1755) 58–9 Greenblatt, Stephen 36, 108, 309 Grillparzer, Franz 109, 310, 406 Groß und Klein (Strauß) 409 Grotowski, Jerzy 432 Grüber, Klaus Michael 400, 416 Gryphius, Andreas 4, 292–3, 297 Guattari, Félix 314, 315, 316, 317 Guildenstern 225–6 Hamlet (Shakespeare) 60–1, 105, 110, 118, 124, 129, 148, 151, 214, 215, 225–6, 240–1, 242, 288, 290, 291, 377, 432 Hamletmachine (Müller) 6, 152 Handke, Peter 406 Harsdưrffer, Georg Philipp 245 454 Index H, Ulrike 210–11 Hated Nightfall (Barker) 407 Hauptmann, Gerhart 363, 366, 390, 412 Haydn, Joseph 224 Hebbel, Friedrich 59, 78, 134, 135, 242, 244, 310 Hecuba 124 Heeg, Günther 51 Hegel, Georg Wilhelm Friedrich 4, 30–1, 32–4, 51, 55–6, 58, 60, 64, 65–72, 83, 84, 85–6, 95, 121–2, 148–9, 157, 161, 177, 181, 182, 185, 186, 187, 287–8, 296, 307, 308, 318, 320, 321, 322, 331, 341, 344, 390, 403, 418 Heidegger, Martin 30, 61, 79–82, 113, 168, 183–5, 399, 421, 433 Heinrich, Klaus 150 Hengst, Jochen 76 Heracles (Euripides) 72, 89–90, 233 Heraclitus 79 Herakles 205 Hiketides (Suppliants) (Aeschylus) 195–6, 200–1 Hinderer, Walter 323 History of the Thirty Years War (Schiller) 312 Hobbes, Thomas 234, 250–1n126 Hofmannsthal, Hugo von 4, 11, 90–1, 287, 316, 367, 375, 377, 378–81, 390 Hölderlin, Friedrich 5, 11, 49, 51, 74, 75, 83, 116, 136, 140, 141, 154–5, 156, 157, 166, 178, 179–80, 186, 296, 297, 304, 318, 321, 324–5, 327, 330–46, 352, 373, 379, 380, 411, 416, 419, 441 Holst-Warhaft, Gail 292 Holz, Arno 364 Holzer, Jenny 149 Homer 22, 26, 27, 201, 206, 406 HomerLesen (Szeiler) 426 Homo Spectator (Mondzain) 148 Horace (Corneille) 266 Horkheimer, Max 29, 419–20 Hôtel de Bourgogne 263–4, 266, 267 Husserl, Edmund 115 Iago 235, 236–7, 237–8, 238–9 Ibsen, Henrik 8, 46, 242, 244, 364, 366, 374, 390, 405, 412, 419 Icarus 61, 72 Ideal and Life, The (Schiller) 32 Imaginationen des Bösen (Bohrer) 57, 58 In the Jungle of Cities (Brecht) 329 Intérieur (Maeterlinck) 364, 369, 371 Iolaos 205 Ionesco, Eugène 402 Iphigenia (Euripides) 20–1, 60 Iphigénie (Racine) 267, 268 Irigaray, Luce 185, 186 Irish Fairy Tales (Yeats) 382 Island, The (Fugard) 412 Jahnn, Hans Henny 109 Jaspers, Karl 44 Jelinek, Elfriede 400, 412 Jobez, Romain 295–6 Johnson, Samuel 212 Jones, John 200–1 Jonson, Ben 225, 226, 232 Joyce, James 52, 156, 373 Julius Caesar (Shakespeare) 318 Jünger, Ernst 57 Kabale und Liebe (Schiller) 131, 246 Kafka, Franz 130 Kalldewey, Farce (Strauß) 409 Kane, Sarah 6, 8, 43, 46, 75, 113, 116, 118, 131, 136, 209, 400, 412, 436–8 Kant, Immanuel 32, 34–5, 42, 44, 55, 62, 63, 92, 93, 107–8, 135, 138, 143, 152, 308, 311, 319, 325–6, 327, 438 Kantor, Tadeusz 130, 131, 400, 427–8, 430 Käthchen von Heilbronn, Das (Kleist) 350 Kaufman, Walter 2, 58, 144, 409 Kayser, Wolfgang 46–7 Kerényi, Karl 137 Kermode, Frank 212 Kernodle, George R 269 Kerr, Alfred 73, 118 Kesting, Marianne 377 Kierkegaard, Søren 73, 409 Kindermann, Heinz 265 King Lear (Shakespeare) 30, 53–4, 132, 151, 233–4, 242, 262 Kirby, Michael 361 Kittler, Friedrich 23 Kleist, Heinrich von 51, 75, 130, 131, 297, 304, 306, 318, 321, 331, 336, 346–52 Klinger, Friedrich Maximilian 109 Klossowski, Pierre 150 Kofman, Sarah 28–9, 56 Koltès, Bernard-Marie 412 Konersmann, Ralf 210 Kott, Jan 413 Kristeva, Julia 123, 194, 201, 372 Index 455 Kruschkowa, Krassimira 198 Kyd, Thomas 217, 232 La Thébaïde (Racine) 263, 277–8 La vida es suo (Calderón de la Barca) 58 Lacan, Jacques 30, 92–5, 112, 150, 185, 187, 260, 269–77, 294, 300, 417, 419 Lacoue-Labarthe, Philippe 340 Laios 48, 50 Lammert, Mark 426 Lancaster, Henry C 258, 264 Lange, Wolfgang 345–6 L’Après-midi d’un faune (Mallarmé) 362–3 L’art poétique (Boileau) 255 Lauwers, Jan 371 Laws of Hospitality (Klossowski) 150 Le sacre du printemps (Stravinsky) 363 “Le théâtre et la folie” (Mannoni) 233 Lehrstücke (Brecht) 73 Leibniz, Gottfried Wilhelm 438 Leiris, Michel 74, 400 Leo Armenius (Gryphius) 292–3 Les Aveugles (Maeterlinck) 369–70 Les Justes (Camus) 412 Lessing, Gotthold Ephraim 21, 44, 56, 67, 130, 162, 300, 301, 302, 304, 310 Lichtenstein, Roy 314 Lindbergh’s Flight (Brecht) 398–9 L’Intruse (Maeterlinck) 368 Lipowatz, Athanasios 275 Locke, John 438 Lohenstein, Daniel Casper von 260, 293, 297 Loher, Dea Loman, Willy 46, 62, 117 Lorenzaccio 74 Lorrain, Claude 267 Lucretius 146–7 Lugné-Poë, Aurélien 364, 365 Luis-Martinez, Zenón 244 Lukács, Georg 132, 133, 161–2, 196, 200, 208, 214, 241–2, 296, 300, 302, 321, 361, 403, 405–6 Lyotard, Franỗois 42 Macbeth (Shakespeare) 134, 136, 224, 226, 232, 234, 374, 413, 416 McKenzie, Jon 7, 215 Madariaga, Salvador de 291 Maeterlinck, Maurice 11, 209, 361, 364, 365, 366–7, 368–78, 390, 412 Maid of Orleans, The (Schiller) 317, 318 Mallarmé, Stéphane 123, 362–3, 367, 369, 372 Man, Paul de 76 Manguel, Albert 124 Mannoni, Octave 150–1, 233–4 Marcuse, Herbert 327–8 Marino, Giambattista 245 Marlowe, Christopher 78, 218, 246 Marx, Karl 162, 417, 420, 421 Mary Stuart (Schiller) 107–8, 134, 307, 308, 309–10, 318, 319 MassakerMykene 426 Massinger, Philip 232 Mattenklott, Gert 78–9 Mead, George Herbert 223 Measure for Measure (Shakespeare) 154 Measures Taken (Brecht) 73 Medea (Seneca) 109–12, 159, 204, 216, 380, 424 Médée (Corneille) 266 Meier, Christian 203 Mendelssohn, Moses 301–2 Menke, Bettine 12, 295, 296 Menke, Christoph 12, 13, 117, 209, 324, 405, 439–40 Mercier, Louis-Sébastien 302 Messingkauf (Brecht) 241 Meyerhold, Vsevolod 372, 391 Miller, Arthur 8, 46, 61–3, 117, 405 Milton, John 212 Minima Moralia (Adorno) 37 Minks, Wilfried 314 Mirror Stage as Formative of the Function of the I as Revealed in Psychoanalytic Experience, The (Lacan) 270 Mithridate (Racine) 267, 268 Mittenzwei, Werner 161, 162 Modern Tragedy (Williams) 413–15 Molière 253, 263 Mondory 264 Mondzain, Marie José 148, 149 Monkey Theater (Benjamin) 125 Montaigne, Michel de 146 Monteverdi, Claudio 224 Moretti, Franco 223, 231, 234, 244 Morris, David B 138 Moscow Art Theatre 365 Mozart and Salieri (Pushkin) 365–6 Müller, Heiner 6, 8, 43, 58, 75, 79, 106, 107, 110, 111, 112, 118, 131, 136, 137, 138, 146, 152, 158, 209, 310, 318, 329, 362, 365, 394, 397, 400, 407, 412, 416, 419, 426, 432, 434–6 456 Index Müller-Schöll, Nikolaus 398 Munch, Edvard 365 Murder in the Cathedral (Eliot) 412 Musset, Alfred de 74 Mutter Courage (Brecht) 392–3, 402 Nabis 365 Nancy, Jean-Luc 84, 91, 103n160, 120, 168, 206, 328, 419, 421, 422 Neumann, Gerhard 348 Nietzsche, Friedrich 34, 57, 58, 61, 75, 78–9, 80, 81, 83, 88, 116, 135, 160, 178, 193, 199, 200, 219, 289, 296, 363–4, 403–4, 405, 413 Noh theatre 381 Not I (Beckett) 132 Nussbaum, Martha 157 O Marinheiro (Pessoa) 365 Odyssey 197 Oedipus at Colonus 60, 340 Oedipus Rex 28, 48–50, 52, 54, 71, 117, 118, 132, 134, 140, 148, 154–5, 156, 164, 165, 166, 199, 335–6, 340, 391, 424, 435 On Baile’s Strand (Yeats) 381 On Dramatic Poetry (Diderot) 303–4 On Pathos (Schiller) 311 On the Theatre of Marionettes (Kleist) 130, 306 O’Neill, Eugene 8, 412 Ophelia 233 Opitz, Martin 121, 245 Oresteia (Aeschylus) 60, 108, 424, 432 Orestes 134, 233 Orlan 400 Othello (Shakespeare) 131, 235–8, 238–9 Otto, Walter F 200 Ovid 136 Paradoxe sur le comédien (Diderot) 152 Pelasgos 195 Pelléas et Mélisande (Maeterlinck) 366–7, 370, 372, 375–6, 378 Penthesilea (Kleist) 331, 346–7, 348, 350, 351 Pentheus 72, 134 Perform or Else (McKenzie) Persians, The (Aeschylus) 8, 194–5 Pessoa, Fernando 365, 390 Pfaller, Robert 149–50 Phaedra 118, 122, 134, 136, 148 Phèdre (Racine) 238, 257, 259, 267, 278–82, 392 Phenomenology of Spirit (Hegel) 30, 33, 66, 69–70, 341 Philoctetes (Euripides) 60, 138, 435 Pinter, Harold 416 Plato 23–5, 26–7, 28, 121, 128, 129, 219 Plessner, Helmuth 145, 146, 213–14, 215 Plutarch 136 Poe, Edgar Allan 94 Poetics (Aristotle) 19–22, 23, 46, 52, 58, 64–5, 81, 132, 147, 159, 163–4, 165–7, 194–5, 228, 258, 293 Polonius 225 Polynice 277–8 Ponge, Francis 371–2 Postdramatic Theatre (Lehmann) 2, Pound, Ezra 381 Poussin, Nicolas 267 Pratique du théâtre (Aubignac) 254–5, 257–8 Prinz von Homburg, Der (Kleist) 351 Proust, Marcel 116, 125, 373 Pushkin, Alexander 365–6 Pye, Christopher 294 Pynchon, Thomas 52 Quadri, Franco 432 Quintilian 76 Racine, Jean-Baptiste 4, 8, 11, 59, 60, 118, 124, 134, 185, 211, 220, 229, 238, 242, 253–86, 296, 297, 299, 300, 302–3, 310, 320, 374, 375, 392, 405, 416, 425 Racine, Louis 124 Rancière, Jacques 159, 172–3n92, 178, 327, 328 Rang, Florens Christian 219 Rebentisch, Juliane 143 Redon, Odilon 365 Reinhardt, Max 391 Revenger’s Tragedy, The (Middleton) 225 Richard II (Shakespeare) 120 Richard III 47, 55 Richard III (Shakespeare) 74, 153, 159, 239, 242–3 Riders to the Sea (Synge) 412 Rilke, Rainer Maria 158 Ring (Wagner) 108 Robbers, The (Schiller) 313–14, 314–15, 316–17, 328 Index 457 Rokem, Freddie 431 Rome 212 Romeo and Juliet (Shakespeare) 225, 288 Rorty, Richard 182 Rosencrantz 225–6 Rosenzweig, Frank 218–19, 433 Rotrou, Jean 185 Rousseau, Jean-Jacques 28, 76–7, 85 Roussel, Ker-Xavier 365 Russia 391 Sade, Marquis de 57, 75, 88, 92–3, 94, 95, 303 Sagnol, Marc 296 Saint Joan of the Stockyards (Brecht) 328 Sartre, Jean-Paul 401, 412 Schadewaldt, Wolfgang 194 Schall, Ekkehard 214 Schatzki, Theodore 140 Scheler, Max 43–4 Schicksalsdrama 131 Schiller, Friedrich 8, 11, 32, 42, 51, 55, 56, 59, 60, 62, 64, 66, 74, 75, 78, 95, 107–8, 138, 157, 158–9, 242, 246, 274, 304, 305–29, 338, 339, 343, 344, 352 Schlaf, Johannes 364–5 Schleef, Einar 113, 131, 132, 197, 400, 412, 416, 426–7, 430, 431 Schlegel, A.W 53–4, 344 Schlemmer, Oskar 130 Schlingensief, Christoph 138 Schmidt, Ulf 27 Schmitt, Carl 124, 180, 290–1, 310, 405, 441 Schneider, Manfred 352 Schnitzler, Arthur 390 Schöne, Albrecht 269 Schopenhauer, Arthur 57–8, 80 Schưßler, Franzisca 438 Schuller, Marianne 403–4 Scudéry, Georges de 266 Segal, Charles 339 Sejanus (Jonson) 225, 232 Seneca 72, 75, 78, 104–14, 232, 380, 436 Seven Against Thebes (Aeschylus) 205 Shaftesbury, Earl of 312–13 Shakespeare, William 4, 8, 30, 43, 59, 72, 74, 75, 78, 95, 105, 106, 110, 113, 120, 131, 134, 151, 154, 211–12, 220, 222, 227, 230–1, 232–3, 233–4, 235–8, 238–9, 240–1, 242–3, 244–5, 253, 290, 291, 299, 301, 310, 318, 374, 375, 403, 413, 416 Shakespearean Negotiations (Greenblatt) 36 Shipwreck with Spectator (Blumenberg) 146 Simmel, Georg Smith, Molly 232 Snell, Bruno 27 Societas Raffaelo Sanzio 8, 400, 412, 430–4 Socrates 289–90 Sophocles 30, 46, 71, 89–90, 200, 218, 233, 301, 342, 344, 413, 416 Sourvinou-Inwood, Christiane 203 Spanish Tragedy (Kid) 217, 232 Spleen de Paris (Baudelaire) 225 Staiger, Emil 362 Stanislavsky, Constantin 407 Stein, Gertrude 127–8, 225 Stein, Peter 108 Steiner, George 50, 121, 392, 401–2, 412 Stelarc 400 Sterne, Laurence 52 Strauß, Botho 406, 409–10 Stravinsky, Igor 363 Strindberg, August 72–3, 244, 365, 366 Stuart, Meg 400 Sul concetto di volto nel figlio di Dio (Castellucci) 431 Sulzer, Johann Georg 76 Suppliant Women (Euripides) 204–5 Sur le Théâtre Zero (Kantor) 428 Suzuki, Tadashi 400 Synge, John Millington 412 Szeiler, Josef 426 Szondi, Peter 30, 47–50, 51, 60, 207–8, 209, 220, 236, 237, 256, 259–60, 292–3, 295, 320, 339, 366, 368–9 Tackels, Bruno 431–2, 433 Taille, Jean de la 121 Tairov, Alexander 391–2 Taplin, Oliver 339 Taxidou, Olga 27, 118, 137, 203, 292 Tesauro, Emanuele 245 Thalheimer, Michael 424–5 Theater and Culture (Artaud) 345 Theater Angelus Novus 426 Théâtre de l’oeuvre 365 Théâtre du Marais 266 Theatre of Catastrophe (Barker) Theatre of Cruelty 391, 428 Theory of Legislation, The (Bentham) 139 Free ebooks ==> www.Ebook777.com 458 Index Theory of Modern Drama (Szondi) 207–8 Theseus 122, 204–5 Thyestes (Seneca) 109 Tindemans, Klaas 294 Tiresias 154–5, 155–6 ‘Tis Pity She’s a Whore (Ford) 243 Titus 60 Titus Andronicus (Shakespeare) 227, 232–3, 234–5 To Damascus (Strindberg) 72–3 Tod des Hektor 426 Tod des Tizian (Hofmannsthal) 378–9 Tonti, Paolo 432 Toulouse-Lautrec, Henri de 365 Tragedia Endogonidia (Societas Raffaelo Sanzio) Tragedy and Philosophy (Kaufman) Trojan Women (Euripides) 205 Truth and Method (Gadamer) 44 Turner, Victor 437, 441 Über das gegenwärtige teutsche Theatre (Schiller) 305 Valéry, Paul 280, 365 Vandekeybus, Wim 400 Velázquez, Diego 429 Vernant, Jean-Pierre 339, 432 Vesnin, Alexander 392 Vietta, Egon 124 Virgin Martyr (Massinger) 232 Virno, Paolo 420–1 Vondel, Joost van den 233 Vuillard, Édouard 365 Wagner, Richard 108, 209, 361, 363, 367, 416 Waldenfels, Bernhard 115, 125, 142, 149, 168 Wallenstein (Schiller) 134, 136, 307, 308, 318, 320, 321–2, 328 Warstat, Matthias 438 Weber, Max 318 Weber, Samuel 141, 270, 289 Webster, John 223, 232 Wellbery, David 79, 88, 160–1 Wilamowitz-Moellendorf, Ulrich von 157 Wilde, Oscar 38 Wilhelm Tell (Schiller) 318 Willard (film) 316 Williams, Raymond 44, 227, 301, 412–15 Williams, Tennessee 405 Wilm, Marie-Christin 331 Wilson, Robert 131, 225, 364, 371 Winckelmann, Johann 193 Winnicott, D W 131 Winter’s Tale, A (Shakespeare) 72 Wirth, Andrzej 364 Wise, Jennifer 202 Wolokolamsker Chaussee (Müller) 365, 434, 435 Women of Trachis, The (Sophocles) 89–90 Wordsworth, William 362 Woyzeck (Büchner) 46, 116 Yeasayer, The (Brecht) 73, 398 Yeats, William Butler 11, 24, 65, 74, 367, 381–5, 390 Yuryev, Yuri 391 Zadek, Peter 314 Zement (Müller) 434 Zero Theatre Manifesto (Kantor) 428 Zola, Émile 51 www.Ebook777.com ... www.Ebook777.com Tragedy and Dramatic Theatre An extraordinary milestone in Hans-? ?Thies Lehmann’s contributions to theatre and performance scholarship, Tragedy and Dramatic Theatre plots a course... Dramatic tragedy and the tragic subject 239 193 Pure dramatic tragedy: Racine Neoclassical theory and practice 254 Racine, Lacan and the Imaginary 269 253 Tragoedia and Trauerspiel: Tragedy and. .. by tragedy and the theatre, the aforementioned theoretical inadequacy requires that we look, once again, at the difficult “affair” between philosophy and tragedy, and between theory and the theatre