I Love You. Who Are You? The Strategy of Drama in Recognition Scenes

PMLA ◽  
1977 ◽  
Vol 92 (2) ◽  
pp. 297-306
Author(s):  
Helene Keyssar
Keyword(s):  
King Lear ◽  
Audience Participation ◽  
Stanley Cavell ◽  
The World ◽  
The Spectator ◽  
Critical Process

Audience participation in theater often obscures or confuses the magical nature of the activity of theater. The uniqueness of this activity is centered in the separateness of the world of the play from the world of the audience, as Stanley Cavell remarks. The importance of such separateness becomes vivid in recognition scenes which are the structural core of most drama. Aristotle perceives the importance of recognition scenes, but does not show adequately what such scenes do to the spectator. The recognition scenes in Sophocles’ Oedipus Rex and Shakespeare’s King Lear reveal drama’s special ability to allow the spectator to acknowledge another while himself remaining private. The critical process involved in coming to such an understanding of drama, while similar to some elements of structuralistic analysis, focuses more directly on a concern with the patterns of relationship between play and audience. My methodology corresponds to Stanley Fish’s “affective” stylistics.

From Figures of Paradox to a Philosophy of Review

2020 ◽  
pp. 206-254
Author(s):  
Rebecca A. Sheehan
Keyword(s):  
Fractal Theory ◽  
Film Theory ◽  
Incompleteness Theorem ◽  
Stanley Cavell ◽  
Avant Garde ◽  
The World ◽  
The Subject ◽  
The Spectator ◽  
Zeno's Paradox

This chapter examines the role of paradox in the films and film theory of Ken Jacobs, Hollis Frampton, and Michael Snow. Paradoxes such as Zeno’s paradox, Gödel’s incompleteness theorem, and Benoît Mandelbrot’s fractal theory of geometry, which inform the work of these filmmakers, propose and repeat the unresolvable gap between subject and world that informs skepticism. This chapter argues that the skeptical encounters these films invite, which entice the spectator to work toward solving a riddle or problem of incompleteness, also provide a model for overcoming skepticism by prompting re-encounters with the images on screen and the world to which they refer. These re-encounters occur in the same way that Stanley Cavell imagined the images of mainstream cinema could overcome problems of philosophical skepticism by drawing the subject closer to the world. The author argues, however, that these avant-garde meditations on mises en abyme are possibly more effective than Hollywood filmmaking for overcoming skepticism because of their more immediate emphasis on cinema’s very ability to engage and stage re-encounters between the subject and the limits of the world, rather than their reference to the world through images.

: The World Viewed . Stanley Cavell.

1972 ◽  
Vol 25 (4) ◽  
pp. 28-29
Author(s):  
Leo Braudy
Keyword(s):  
Stanley Cavell ◽  
The World

The Transfer of Power, 1947

1982 ◽  
Vol 16 (1) ◽  
pp. 1-32 ◽  
Author(s):  
W. H. Morris-Jones
Keyword(s):  
Title I ◽  
Direct Acquaintance ◽  
The World ◽  
The Spectator ◽  
The Way

Those who kindly invited me to give this lecture showed some resistance to its sub-title. I insisted on ‘a view from the sidelines’ because I wished to emphasize that my remarks would be based on my own presence at the events of 1947 and confined to those matters with which I had direct acquaintance. This is still largely true: mine is in part an undisguisedly personal tale. But the matter is rather more complicated. For one thing, while I was certainly a spectator I was also able for a couple of months in 1947 to scamper on to a segment of New Delhi's field of fateful play, even to get a touch or two of the ball, before returning to my place on the terraces. But for the purpose of this lecture I could not content myself with recollections; I have, as it were, examined the slow re-plays of the television cameras. In trying to match my memories, diaries and letters from 1947 with the files at India Office Records, there have, I confess, been phases of bewilderment on the way to such modest and provisional enlightenment as I can offer. It is not simply that in the 34 years the world has moved on, the perspective has changed; that is a problem which the historian's whole skill is devoted to overcome. The difficulty is aggravated when the spectator cum minor actor in the drama of yesteryear puts on the historian's robe; for not only the world but he with it has changed.

scholarly journals The work of the couple Brailowsky in the mirror of Serbian critiques

Muzikologija ◽  
2003 ◽  
pp. 81-113 ◽  
Author(s):  
Nadezda Mosusova
Keyword(s):  
King Lear ◽  
Merchant Of Venice ◽  
Richard Iii ◽  
National Theatre ◽  
The World ◽  
Historical Dramas ◽  
Queen Of Spades ◽  
Artistic Career ◽  
Edmond Rostand ◽  
Husband And Wife

Leonid (1867-1937) and Rimma (1877-1959) Brailowsky brought to Belgrade National theatre (together with other Russian emigrated stage and costume designers) the spirit of the World of Art (Mir Iskusstva), making d?cor and costumes for 18 performances during the period of 1921-1924. Les romanesques by Edmond Rostand, Le malade imaginaire by Moli?re, Shakespeare's Richard III, Merchant of Venice and King Lear and two Serbian dramas, Offenbach's Hoffmann's Tales, Faust by Gounod, Smetana's Bartered Bride, Bizet's Carmen Onegin and Queen of Spades by Tchaikovsky, Massenet's Manon, The Tsar's Bride by Rimsky-Korsakov, The Wedding of Milos by Petar Konjovic, the Serbian opera composer, two ballets, Sheherazade and Nutcracker. The artists, husband and wife, were praised for their modernization of the Belgrade scene, for their vivid realization of sets and costumes, for their novelties, especially in Serbian historical dramas by Branislav Nusic and Milutin Bojic, and Shakespeare as well. In operas and ballets they were also respected in some extent, but the pictorial, sometimes independent value of their scenic work, although inspired by music, arouse opposing questions among the musical critics, who could not accept their too bright colors which once conquered Paris in the scenic interpretation of Leon Bakst or Nikolai Roerich. To avoid resistance of Belgrade critics the couple decided to leave Yugoslav capital for Italy where they continued successfully their artistic career.

scholarly journals Cliplike Montage and Illusory World

2012 ◽  
Vol 4 (2-3) ◽  
pp. 131-146
Author(s):  
Natalia Ivanovna Utilova
Keyword(s):  
Sense Perception ◽  
Music Video ◽  
Academic Interest ◽  
The World ◽  
The Spectator

The present publication is a fragment of a survey devoted to the emergence and development of the music video montage which enhances the sense perception of screen images plunging the spectator into the world of illusion. The search for the origins of this montage form are of not only academic interest, but reveal certain practical possibilities of using music video montage in various audiovisual genres outside TV.

The Non-identical World

2020 ◽  
pp. 139-162
Author(s):  
Sean Cubitt
Keyword(s):  
Global Financial Crisis ◽  
Source Code ◽  
Central Character ◽  
Natural Processes ◽  
Downtown Area ◽  
The World ◽  
History Of ◽  
The Global Financial Crisis ◽  
Critical Process ◽  
Brain In A Vat

There exists a powerful fantasy that the world is not only describable in numbers but is composed of code, in which case the world-as-code can be rewritten. This theme has already emerged in the analyses of Oblivion and Déjà Vu, and is shared by a group of what are here named as ‘irreality’ films made during the global financial crisis. Source Code (Duncan Jones, 2011) dwells on the fate of a protagonist who is the archetypal brain in a vat, another posthumous central character. The analysis draws out the historical formation of subjectivity and the history of the instincts that tie human personality to natural processes, discusses the utopian potential of the performative principles of software, reveals how, in a critical process shot, this utopianism is directed simultaneously towards the construction of community and of the romantic couple, and how these relate to the invisibility, in the repeated shots of the Chicago skyline, of the futures market housed in its downtown area.

scholarly journals (Re)framing Movement in Stan Brakhage’s Visions in Meditation N°1

2013 ◽  
Vol 6 (1) ◽  
pp. 35-48
Author(s):  
Emőke Simon
Keyword(s):  
Visual Experience ◽  
Avant Garde ◽  
Short Films ◽  
The World ◽  
Way Of Thinking ◽  
The Spectator ◽  
Stan Brakhage ◽  
The Way

Abstract Considered as one of the main figures of the avant-garde lyrical cinema, Stan Brakhage questions perception. His language of inquiry constantly confronts the spectator with the limits of visual experience of the world and the multiple possibilities of their transgression. Critically addressing one of his short films, Visions in Meditation n°l (1989),1 this analysis aims to discuss the way movement may become a principle of perception, that is to say, according to Gilles Deleuze’s definition - a mode of transgressing the frame of representation. Reappropriating the cinematographic grammar and submitting it to a vibrating movement, Brakhage invents a rhythm which paves the way for a transcendental experience, meanwhile proposing a reflection on the meditative possibilities of the film in terms of the image in meditation. Gilles Deleuze’s way of thinking of cinema in Cinema 1: Movement-image, as well as Slavoj Žižek’s writings on cinema, allows one to consider movement in its cinematographic and philosophical meaning, a project which in Brakhage’s case seems to be primordial

“A Radiant and Productive Atmosphere”: Encounters of Wallace Stevens and Stanley Cavell

2012 ◽  
Vol 46 (3) ◽  
pp. 681-694
Author(s):  
ÁINE KELLY
Keyword(s):  
Hannah Arendt ◽  
King Lear ◽  
Wallace Stevens ◽  
Marianne Moore ◽  
Sunday Morning ◽  
Stanley Cavell ◽  
Arts And Sciences ◽  
American Philosophy ◽  
The Arts ◽  
The Aesthetic

Writing on such diverse works as Shakespeare'sKing Lear, Wallace Stevens's “Sunday Morning” and Vincente Minnelli'sThe Bandwagon, Stanley Cavell is a philosopher consistently moved to philosophize in the realm of the aesthetic. Cavell invokes Stevens, particularly, at moments of hisoeuvreboth casual and constructive. In a commemorative address of the “Pontigny-en-Amérique” encounters at Mount Holyoke College in 2006, Cavell takes Stevens as his direct subject. During the original Pontigny colloquia, held during the wartime summers of 1942–44, some of the leading European figures in the arts and sciences (among them Hannah Arendt and Claude Lévi-Strauss) gathered at Mount Holyoke with their American peers (Stevens, John Peale Bishop and Marianne Moore) for conversations about the future of human civilization and the place of philosophy in a precarious world. Stevens suggested at the Pontigny meeting that the philosopher, compared unfavourably to the poet, “fails to discover.” As it is precisely Cavell's acknowledgement of the accidental or the unexpected as displaced from philosophy that draws him to the writings of Stevens, the Mount Holyoke encounters promise an illuminating dialogue between the two. The affinity between such central champions of the poetic dimension of American philosophy is sometimes obvious, more times in question.

"The World Viewed: Reflections on the Ontology of Film," by Stanley Cavell

1973 ◽  
Vol 50 (4) ◽  
pp. 384-385
Author(s):  
William L. Blizek ◽  
Keyword(s):  
Stanley Cavell ◽  
The World

Lev Dodin Directs Grossman, O'Neill, and Shakespeare

2009 ◽  
Vol 25 (2) ◽  
pp. 137-147
Author(s):  
Maria Shevtsova
Keyword(s):  
King Lear ◽  
Training Methods ◽  
Eugene O'neill ◽  
The Novel ◽  
Theatre Arts ◽  
The World ◽  
Love's Labour's Lost ◽  
Eugene O’Neill ◽  
International Festival

When Lev Dodin and the Maly Drama Theatre travelled to Britain in 1988, performing Stars in the Morning Sky at the London International Festival of Theatre (LIFT), it was their first tour abroad. Since then, this repertory ensemble has had an enormous impact on audiences across the world because of its powerful artistry, sustained by the unique training methods, emotional and philosophical as much as technical, developed by Dodin and his collaborators. This article is an account of the three productions directed by Dodin since King Lear (St Petersburg, March 2006, and performed at the Barbican in London in October that year). They are Life and Fate (2007) after the novel by Vasily Grossman, Long Day's Journey into Night (2008) by Eugene O'Neill, and Shakespeare's Love's Labour's Lost (2008, its premiere in April preceding that of Long Day's Journey in December). Maria Shevtsova is Professor of Drama and Theatre Arts at Goldsmiths, University of London, and Co-Editor of New Theatre Quarterly.

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