362Acting: and actors, 223, 257–59
and language, 9–10
distinguished from act and action, 75, 116, 188, 340, 388n3. See also Aristotle; tragedy
Action (praxis): and tragic plot, 24, 99–100, 258
and character 89
in Artaud 279–80
Actors (prattontes), as actings, 223, 257–59
Adler, Alfred, 252
Adorno, Theodor W., 229, 308, 338–39
concept of name, 241–42
culture industry, 235–39, 248–49
‘Prologue to Television’, 110
reading of Hegel, 232–34, 239–40
reading of Kierkegaard, 230–31, 239– 40, 242–50
Aeschylus, 164
Agon (competition), 163–64, 166, 323
Allegory: and mortality, 191
and theater, x, 161–62, 167, 172–74, 176–77, 293
as a mode of perception 161–62
contrast between Adorno’s and Benjamin’s conceptions of, 237, 246
and the mourning play, x
of theatricality, 28
history as, 178
and fragment, 180
Al Qaeda, 327, 333, 351, 358–59
Anagnorisis, 88, 100, 107, 261–62. See also recognition
Antigone (Sophocles), 141, 146
Hegel’s interpretation of 124–28, 131–32, 134, 137–38
in relation to other Theban plays, 122–23
nomos, 138–40
notion of justice (Dike), 132–33, 135
Aorist participle, 156. See also present participle
approach to theater: actors, 223, 257–59
mimesis, 112, 150, 254, 256, 263, 281
primacy of praxis over ethos, 89, 116, 258
privileging tragedy, 26, 200, 256–57, 264
unity of plot as muthos of praxis, 21, 24, 112, 193, 256, 258, 260, 267–68
unity of view (synopsis), 89, 99, 101, 254, 256, 266, 283
instrumentality of medium, 100–102, 105
On the Soul, 101
Physics, 48
theory of peripeteia and anagnorisis, 88, 100, 103, 107, 255–56, 260– 61, 263–64, 298–300, 304–5. See also mimesis; peripeteia; plot; recognition
Artaud, Antonin, 179
Theater and Its Double, 282
Theater of Cruelty, 277–79, 282–84, 287, 290–94
condemnation of ‘psychology’, 279–80, 282
virtuality and violence, 284, 286
critique of dialogical theater, 285
‘Theater and the Plague’, 287–88, 301
Balinese dance-theater, 49–50
Baroque drama. See mourning play
Baudrillard, Jean, 331
Bausch, Pina, 179
Beckett, Samuel, 213
Beijing Opera company, 23–25
Being John Malkovich, 315–18, 321
Benjamin, Walter, 68–69, 90, 148– 49, 321
‘Author as Producer’, 67
condemnation of theatrocracy, 34–35
‘Critique of Violence’, 133
on Brecht, 44, 70, 113–14, 317
on Kafka, 70, 75, 78, 82–5, 87–8, 96
‘On Language in General and the Language of Man’, 241
‘On the Program of the Coming Philosophy’, 118
Origin of the German Baroque Mourning Play, 39, 160–61, 311
‘What is Epic Theater?’, 44, 81, 317, 396n15. See also allegory; citability; Exponierung; gesture; interruption; Epic Theater; mourning play
Big Trouble (film), 346
Bin Laden, Osama, 333, 349, 351, 359
Blair, Tony, 348
body, 318–20
and repetition, 202–3, 211–12, 220, 222
as articulation of joints, 47–49, 179
as container, 47–51
as fetish, 85
individual, 317
in relation to media, 42. See also gesture; laughter
Body Snatchers, The, 51
Bollack, Jean, 124
Bourseiller, Antoine, 304
Breathless (Godard), 157, 209–10
‘On Chinese Drama and the Alienation Effect’, 23
Bush, George W., 326–27, 348, 360
Bywater, Ingram, 299
Caesura, 107, 114, 120. See also interruption; peripeteia; Riβ
Calvinism, 387n12
Citatability and citation, 44–48, 117, 139, 202
Collateral Damage (film), 346
Community: and Greek tragedy, 165–68
in Hegel’s reading of Antigone, 126–28
Constantin Constantius. See under Kierkegaard
Cronenberg, David, 320
Dafoe, Willem, 321
Darstellung (staging), 386n3
‘Day After, The’ (Nicholas Meyer), 344
Debord, Guy, 10–14, 19, 22, 24, 330–32
Society of the Spectacle, The, 10, 330. See also spectacle
‘Debts of Deconstruction, The’ (Weber), 362
Deleuze, Gilles, 290–91
De Man, Paul, 158
Derrida, Jacques, x, 119–20, 198, 338–40, 360–63
‘Double Session’, 13, 340, 356
‘Force of Law’, 362
Limited Inc, 339
Of Spiri 362
reading of Antigone, 133–34
reading of Mallarmé, 13–16
notion of arrivant, 73
Speech and Phenomenon, 339
Specters of Marx, 181. See also iterability
Descartes, René, 201, 212–15, 398n6
Dillon, Michael, 398
Diogenes Laertius, 202
Diogenes of Sinope, 200, 202–3
Duns Scotus, 162
Dupont-Roc, Roselyne, 259
Eisenstein, Sergei, 321
Else, Gerald, 100, 102, 104, 299–300
Endgame (Beckett), 213
Entbergung (unsecuring), 55–56, 58– 60, 337
Epic Theater, 44–47, 69–70, 81, 114–18, 317
eXistenZ (Cronenberg), 320–25
Exponierung (exposing, exposure), 67, 103, 109, 111–12, 115–16, 140, 149
Faith: and knowledge, 166–67
in Kafka, 80. See also Luther, Lutheranism, Reformation, repetition, theater
Farce (Posse): 217–21, 247–29, 252– 53, 219–20, 275, 311–12
Freud, Sigmund 85, 253, 304, 338– 39, 354, 358, 390n13
account of the ego, 253
castration, 269–70
dream work, 266–68
Oedipus complex, 269–70
Genet, Jean: Balcony, The, 297
urbanism, 301, 303–4, 306–7, 309, 310
detachability of theater, 309–10
The Screens, 301
‘The Strange Word Urb…,’ 301–6. See also theater: and the dead
Gerund, 17, 19, 61–62, 66, 73–75, 259, 300. See also present participle
Gestell (emplacement), 59–61, 63, 67–69, 79, 81. See also installation
Gesture, 46, 75–76, 87–88, 117, 278, 286, 293
Ghost. See spectrality
Godzich, Wlad, 357
Goethe, Johann Wolfgang, 61, 70, 137, 139, 377n19, 383n17
Grace of God, 190–94, 388–89n9. See also redemption
Grouping, 118–19
Halliwell, Stephen, 299
Hamlet, 181ff, 252
Hegel, 167, 146, 158, 230–34, 239– 40, 355
conception of art, 218
interpretation of Antigone, 124– 28, 131–32, 134, 137–38
Phenomenology of Spirit, 124
spirit (Geist), 181–82
Heidegger, Martin, 28, 78, 84, 362–63
and Benjamin 162
To Be and Time, 60, 64, 376n9, 378n26
figure of Geschick (destiny), 20–21, 59, 61–62, 73, 79, 81
Introduction into Metaphysics, 61, 65, 375n8
notion of the twofold, 17–23, 29
on Parmenides, 17–20
‘Origin of the Work of Art’, 56, 63–67, 70, 72
technics, 54–61, 64, 67, 79– 80, 82–83, 337, 341
theatricality of his writing, 69–70. See also Entbergung
Herodotus, 139–40
History (Geschichte): as allegory, 172, 178
in Heidegger, 59–60
of salvation (Heilsgeschichte), 173–75, 177–78, 189
Hoffmann, E. T. A.: The Sandman, 273–74
Hölderlin, Friedrich: on Oedipus, 106–7, 114–15, 120, 133
Home theater, 5, 296–97, 313, 395n2, 397n1
Hong, Howard and Edna, 208
Huntington, Samuel, 349
Independence Day (film), 346
Individual, the: and body 51, 317–18
autonomous, 26–27, 29, 46, 100, 121, 282, 319, 333
isolation of, 332
mortality and survival, 169–75, 210, 348
within community, law, 122, 124–28, 131–33; See also singular, the
Installation, 57, 63–65, 67, 69, 72– 73, 78–79, 83, 85, 290. See also organization
Institution and Interpretation (Weber), 350, 356–57
Interruption, 44–47, 87, 109, 114– 15, 120, 195, 286, 396n15. See also caesura; peripeteia; Riβ
Invasion of the Body Snatchers, The (Siegel), 317
Iterability, 9, 120, 185, 339, 341. See also citability; repetition
Jebb, R. C., 138–39, 152, 156, 263, 383n17
Jentsch, Ernst, 274
Johnson, Lyndon B., 328
Jones, Ernest, 271
Kafka, Franz: ‘Before the Law’, 133
‘Building of the Great Wall of China, The’, 74
‘Cares of a Housefather’, 286–87, 304
theatricality of his writing, 75
The Man Who Disappeared, 69, 72, 76–96
‘The Next Village’, 73–74
The Trial, 70
‘The Wish to Become an Indian,’ 74
Kant, Immanuel, 42–43, 231, 337, 340–41
Keaton, Buster, 321
Kierkegaard, Søren, 198, 229–32, 338, 355
Constantin Constantius, 188, 201–28, 230, 245–47, 339
Repetition (Gjentagelsen), 188, 200–2, 204, 229, 283, 311, 339
Two Ages, 208. See also repetition: as recollection; repetition: as taking again
Klein, Bridgett, 352
Klein, Naomi, 350
Lacan, Jacques, 132–33, 265, 360–61
mirror stage, 332
The Ethics of Psychoanalysis, 132
Lacis, Asja, 160–62
Lallot, Jean, 259
Lang, Fritz, 317
Language: and names, 241
and tragic hero’s refusal to speak, 167–68
in Genet, 302–3
in Oedipus, 107–8
medium of signification, x, 286
speech act (J. L. Austin), 9. See also Sage
Line of Fire, 316
Liyuan Theater, 25–27
Lovitt, William, 58–59
Luther, Martin, 164, 169, 174, 183, 192
Lutheranism (or Lutherism), 169, 387n12
Mallarmé, Stéphane, 13–16, 340
Marcuse, Herbert, 339
Mars Attacks (film), 346
Marx, Karl, 355
Matrix (film), 51
McDougall, Joyce, 251–54
McLuhan, Marshall, 42
Meditations (Descartes), 201
Methexis, 19
Meyer, Leo, 156
Meyer, Nicholas, 344
Meyrowitz, Joshua, 42
in Aristotle, 112, 150, 254, 256, 263, 265, 279
Plato’s critique of, 13, 38, 102, 279. See also recognition; repetition
Møller, Poul, 210
Moraly, Jean-Bernard, 304
Mourning play (Trauerspiel), x, 309, 377n19
as Idea, 386n3
as response to the Reformation, 70, 170, 175, 190
as ‘return of the repressed’, 173
distinguished from tragedy, 161–76 passim, 192
Hamlet, 192–93
problem of life and death, 81, 166
problem of work, 175–76. See also allegory; Benjamin, Walter; Reformation; work
Muthos. See plot, Sage
Mystery Plays, 176
Nancy, Jean-Luc, 63
Napoleon, 70
Nietzsche, Friedrich, 39–42, 44, 338, 341
Beyond Good and Evil, 201
Birth of Tragedy, 39–40, 43, 283, 291, 293–94
The Genealogy of Morals, 43, 195, 362
Verwandlung (metamorphosis, trial) in theater, 40–41, 43
No Logo (Klein), 350
Novalis, 176
Oedipus at Colonus (Sophocles): historical context, 123, 141, 151
keeping secret of the place of death, 142, 144, 147–48
Oedipus’ name, 153
plot in, 262
problem of memory, 157–58
problematization of space and place, 149, 152–53, 154
Oedipus Tyrannos (Sophocles), 102, 143–44
in the context of other Theban plays, 122–23, 141
problematization of time and space, 104–6, 144
problematization of sight, 108
question of identity, 107, 109
Organization, 70, 72, 76, 78, 80, 86–90, 93, 292
Osborne, John, 388n8
Peking Opera, 23–25
Peripeteia (reversal), 88, 100, 107, 120, 260–61, 289, 298–301. See also caesura; interruption; Riβ
Phenomenology of the Spirit, The (Hegel), 231–32
Place: and haunting, 182, 185–87, 288n6
as threshold, 152–54, 157, 369n15
of death, 141, 146–47, 151, 158–59
self–contained, 130
separability of, 294
transition from space, 314. See also spatiality; stage
Plato: condemnation of poetry, 201–2
condemnation of theater, 281, 298
parable of the cave, 3–12, 27, 34, 41, 212, 324, 368n12
Republic, 3, 281. See also mimesis
Plot: and performance, 25
Aristotelian muthos, 21, 24, 100, 178, 188, 193–94, 256, 258, 260, 279–80, 306, 324
contrasted with Sage, 21
in Hamlet, 197–98
tension between plot as story and as stage, 185, 189
Posse. See farce
Prattontes. See actors
Praxis. See action
Present participle: and the body, 318
and reality, 75
in Aristotle, 395n
in Heidegger, 17–19, 62, 66, 73–74
problematization of presence, 15–17, 62
and temporality of staging, 116, 212. See also aorist participle, gerund
Protestantism, 163, 166. See also Reformation
Rang, Florens Christian, 160, 175
theory of Greek tragedy 163–66, 168
Raven, Charlotte, 359–60
Recognition (anagnorisis), 88, 100, 103, 107, 261–64, 273, 298, 338
Redemption (Erlösung), 166–67, 175, 177. See also individual: mortality and survival; repetition: and salvation; theater: and salvation
Reformation, 70, 160, 163, 168, 172, 174
Reinhardt, Karl, 148
and faith, 210
and haunting, 182
and reading, 233
and salvation, 205
and theater, 215–17
as medium of difference, 211, 249–50
as recollection, 200–1, 203–5, 209–11, 214–15, 225–26
as taking again (Gjentagelsen), 207, 212, 227–28
bodily experience of, 202–3, 211–12, 220, 222
of the same, 105, 117, 231, 236, 249–50, 256. See also mimesis; iterability; laughter; recognition; uncanny; spectrality; commercial break
Richards, I. A., 240
Riβ (tear, break), 63–64, 75. See also caesura; gesture; interruption
Star of Redemption, 167
Sage (saying), 20
Salvation. See history; redemption; theater
Saussure, Ferdinand de, 223, 393n6
Saving Private Ryan, 113
Schelling, Friedrich W., 43
Schmitt, Carl, 189–90, 329, 335
Schwarzenegger, Arnold, 346, 348
Searle, John, 339
Seaver, Richard, 302
Security, 28, 60–61, 157, 159, 190, 294, 327. See also Entbergung
September 11, 2001, 327–28, 343– 48, 353, 358
Shakespeare, William, 174, 282. See also Hamlet
Sherlock Junior (Keaton), 321
Siegel, Don, 317
Singular(ity): of event, 7, 18, 158–59
incommensurability of, 47, 133, 138
as what stands out or is left, 57, 140
in Hegel, 127– 30, 134–35, 239
singular duplicity, 293. See also individual; repetition
Sophocles, 123–24
the secret in Theban plays, 29
in Aristotle’s Poetics, 26, 103
staging of singularity, 127
question of authorship, 139
biographical context, 141, 147
use of myth, 143, 153. See also individual plays
as staging of destiny, 192–93
Debord’s concept, 10– 13, 19–20, 330–32
Spectrality (and specters, ghosts), 42, 81, 181–87, 189, 249
and doubles, 279, 287, 294. See also repetition
Spivak, Gayatari, 350
Stage (and staging), 14, 43, 198–99
and truth, ix; as podium, 68–69, 76, 81–86, 149, 154
as showplace (Schauplatz), 173
divisibility of, 165, 185–86, 388n5
rigidity and movement of, 67, 76. See also place; work
Stein, Peter, 179
Strachey, James, 268
Swordfish (film), 346
Television: 52–53, 306, 331, 346–47
and radio 110–13
and violence 278
Derrida on 119. See also home theater
Terrorism, 326–30, 333–34, 343
Terminator, 51
Testament of Dr. Mabuse (Lang), 317
Theater: and conceptions of the ego, 251–54
and media, 99, 101, 113, 295, 305–6, 313
and tribunal, 174
and salvation, 164–66, 167, 176, 224, 310
and violence, 179–80, 277–78, 284, 292–94
definitions of, 97–99, 296, 314–15
dialogical interpetation of, 285
etymology of, 200
in the West, 1–8, 30, 279–80, 285, 299
relation to the dead, 69, 156–58, 307–12. See also : Aristotle; Epic Theater; farce; mourning play; Mystery Plays; tragedy
Theater of Cruelty (Artaud), 277– 79, 282–84, 287, 290–94
Theater of Oklahoma (in Kafka’s Man Who Disappeared), 71, 73, 76–96
passim Theatricality, 1–2, 6–7
and politics, 31
definitions of, 166
Theatron, 34, 36–37, 41, 105, 200, 297
Thomas of Erfurt, 162
Titanic, The, 113
Tocqueville, Alexis de, 121, 125
as refusal of paganism, 168
as trial, 165
contrasted with Posse, 219
distinguished from epic poetry, 256– 57, 264
in psychoanalysis, 251
synoptic interpretation of, 89, 99–101, 283–84. See also acting; action; Aristotle; Sophocles; theater
Tragic hero: and the ego, 252–54
flight of, 164–65
replacement of, 175, 178, 193, 294
silence of, 167–68. See also action; actors; Aristotle
Trauerspiel. See mourning play
Truth: and concreteness, 234
as aletheia, 20, 55–57, 63, 65–67
etymology of, ix; unchanging, 7–8
Uncanny, the (das Unheimliche), 49, 182, 184, 248, 271–75, 338, 361
Urban II (Pope), 386n1
Vertov, Dziga, 321
Virtualization, 284–85, 288, 290– 91, 355
Vorstellung (representation), 114–15
Wagner, Richard, 178
War, 326–28, 332–34, 349, 358–59
Warburg, Aby, 233
Weber, Max, 387n12
Whole, the: in relation to knowledge, 231, 233
its relation to parts, 234–35. See also Aristotle: unity of plot; Aristotle: unity of view
Work, the: absence of, 179, 218
as Gesamtkunstwerk, 113, 115, 117
as good works, 164, 166, 169–72, 175, 183–84, 193
of art, 43, 45, 63–67, 76, 175–76, 188
distinguished from theater and staging, 43, 46, 75–76, 188, 259–60
Zeno, 202