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In thinking about the conceptual empty spaces of theatre,
Between the Lines: A Philosophy of Theatre investigates theatre as an art form, the properties of theatrical characters and theatrical worlds, and the difference between truth and truthfulness in the theatre. Ultimately, this book aims to offer a systematic account of theatre--thinking about theatre metaphysically, epistemologically, and ethically.
List of contents
- Acknowledgments
- Glossary of Terms and Concepts
- Introduction: The Conceptual Spaces of Theatre and Performance
- PART I: Pieces of Theatre: Defining Theatre and its Empty Spaces
- Chapter 1. Previous Conceptions of Theatre
- Chapter 2. The Nature of Theatre
- Chapter 3. The Nature of Viewing Theatre
- Chapter 4. The Nature of Theatre's Empty Spaces
- PART II: Spaces of Theatre: Offstage Characters, Imagined Objects, and Other Prickly Philosophical Problems
- Chapter 5. Distinctness in the Theatre: Theatrical Language and Events
- Chapter 6. Subsumption in the Theatre: The Question of Lady Bracknell's Nose and Offstage Characters
- Chapter 7. Truthfulness in the Theatre: Actors and Acting and Imagined Objects
- Conclusion: Teatri Topia for the Curious: Constants, Variables, and Theatre's Rules of Engagement
- Notes
- Bibliography
- Index
About the author
Michael Y. Bennett is an Associate Professor of English and Affiliated Faculty in Philosophy at the University of Wisconsin-Whitewater. In addition to being a past fellow at the Institute for Research in the Humanities at the University of Wisconsin-Madison, he is a Life Member of Clare Hall, University of Cambridge, where he was a Visiting Fellow. Known for his work on absurd drama and on the philosophy of theatre, he is the author or editor of fifteen books.
Summary
In Between the Lines: A Philosophy of Theatre, theatre theorist, Michael Y. Bennett offers a systematic account of theatre--thinking about theatre metaphysically, epistemologically, and ethically. To investigate theatre and its in-between spaces, Bennett introduces some basic ideas about coherence and correspondence and, much more prominently, conversations surrounding subsumption and distinctness in order to better describe theatre as a form of art. Instead of limiting the concept and use of subsumption to suggest that constituent parts are subsumed within a distinct whole, Bennett broadens the concept to claim that many of the properties of a theatrical character and/or a theatrical world are subsumed within the text.
Unlike some forms of literary fiction in which a narrator describes the properties of characters in general terms, theatre (particularly for the theatregoer) is largely devoid of distinct properties attributed to theatrical characters. Outside of the fact that theatrical characters speak and perform actions during the time of the play, there are little-to-no specified properties regarding theatrical characters and/or theatrical worlds. In thinking about the conceptual empty spaces of theatre, Bennett investigates three main topics: theatre as an art form, the properties of theatrical characters and theatrical worlds, and the difference between truth and truthfulness in the theatre.
Additional text
Nearly every issue of philosophical aesthetics applies specifically to theater, combining as it does elements of literature, poetry, music, dance, architecture. Bennettâs ambitious study addresses a hefty subset of these issues, but also explores, what he takes to be rather unique to theater, the space between text and performance, where much of the action and much of the fun happens.
