IN A COMPLEX MASHUP OF…
… l’esprit d’escalier and post-hoc foresight, I want to make clear that if you do not read this classic-fantastic-tragic “Multi-Book” entitled Teaching and Learning as Performing Arts (by Robert Filliou) in advance of our course, the class cannot but fail!
Just a quick recap of a few of the topics that we opened in this first discussion:
- David got things started by talking a bit about the assignment arc for the class — and our final project. More on all this as things proceed.
- Chiara launched us with the challenging idea that we might want to consider the relationship between an “actor” and a “character” as in some sense homologous with (a type for?) the relationship between the “body” and the “mind” (better: spirit? soul?). The point seemed to be that the theater offered a resource for defying the philosophical typologies of “matter” vs “idea” — and the sundry dualisms and nervous monisms that are generated out of this opening gambit. We will surely return to this idea.
- We realized that we were going to have to construct for ourselves some satisfactory account of what we mean by “theater” as against “performance.” Chiara here posited as a hypothesis that “theater” is in some sense always already philosophical because of theater’s implicit reliance on the quintessentially philosophical maneuver of the “as if” — the hypothetical position. (Look out for the section on “if” in the Stanislavsky for next week).
Chiara has given us this to get us thinking: