ABSTRACT

This conclusion chapter describes the key concepts discussed in the preceding chapters of this book. The book describes the philosopher's spatial speech as one that promotes the undermining of monumental form and Apollonian aesthetics in favor of acknowledging unstable terrain, advocating the real over the representational. It emphasizes choric ground that integrates performers and audience as opposed to the distanced view of the stage and the trickeries of its machinery. The book takes an epoch in which the art form and built form of theatre enacted a major divergence, severing the meaning and magic from material geometry. It illustrates that such contention between creative fields generated a per formative and productive loosening of space, as spacing. The book concludes by returning to its origins with Wagner, Nietzsche and the ancient Greek amphitheatre, reviewing the absolute, abstract and abject event-spaces of the historical avant-garde that combine forces to establish a Nietzschean architecture, which challenges the Nietzschean architect.