ABSTRACT
In this chapter we have been primarily dealing with “the how of theater” through its use of ek-stasis. Our argument has been that theater goes about its fundamental work by making things stand out. This is, in part, thanks to the basic hyper-intentionality of the medium where theatrical space is ultimately a limited field, capable of showing only so much. The inherent selective nature of theatrical space leads to a kind of condensation of representation that is further animated by the pressure of an audience’s collective gaze. The collision of these two forces results in making manifest aspects of existence that usually remain in the background or just under the radar of our consciousness. They exist on the periphery of our comprehension, where they take on an ineffable half-life, waiting to be brought back into focus.
