ABSTRACT

What is the secret DNA of theater? What makes it unique from its sister arts? Why was it invented? Why does it persist? And now, in such an advanced technological age, why do we still feel compelled to return to a mode of expression that was invented over two thousand years ago? These are some of the foundational questions that are asked in this study of theater from its inception to today.

The Secret Life of Theater begins with a look at theater’s origins in Ancient Greece. Next, it moves on to examine the history and nature of theater, from Agamenon to Angels in America, through theater’s use of stage directions, revealing the many unspoken languages that are employed to communicate with its audiences. Finally, it looks at theater’s ever-shifting strategies of engendering fellow-feeling through the use of emotion, allowing the form to become a rare space where one can feel a thought and think a feeling.

In an age when many studies are concerned with the "how" of theater, this work returns us to theatre’s essential "why." The Secret Life of Theater suggests that by reframing the question we can re-enchant this unique and ever-vital medium of expression.

part I|1 pages

The invention of the outside

chapter 5|2 pages

Borges and theater

What the great Argentine poet can tell us about the secret life of theater

chapter 6|9 pages

Beneath Averroes’ window

Borges’ first clue; the family resemblance of play, ritual, and theater

chapter 7|5 pages

The story of Abu-al-Hasan and the house of painted wood

Or Borges’ second clue, the ascension of the ocular

chapter 8|13 pages

From the mimetic to the meta-theatric

The four modalities of theatrical expression

chapter 9|7 pages

The Companions of the Cave

Borges’ third clue, on the necessity of thresholds

chapter 10|4 pages

Anatomy of failure

Why the machine of theater breaks down

part II|1 pages

Nine and a half tableaux

chapter 12|3 pages

Welcome to the Museum of Ek-Stasis

Or when things “stand out” in theater

chapter 13|7 pages

Exhibit one: Agamemnon redux

The optics of the tragic

chapter 14|8 pages

Exhibit two: Abraham and Isaac

Difference, variance, and making time manifest

chapter 15|6 pages

Exhibit three: Romeo and Juliet

Love and other spatial relations

chapter 16|7 pages

Exhibit four: The Winter’s Tale

Seeing being

chapter 17|5 pages

Exhibit five: Tartuffe

The not-so-secret life of inanimate objects

chapter 18|5 pages

Exhibit six: Faust

The persistence of allegory

chapter 19|5 pages

Exhibit seven: Woyzeck

Reading other minds, or the discovery of subtext

chapter 20|7 pages

Exhibit eight: The Three Sisters

The invention of the pause and intimations of the void

chapter 21|4 pages

Exhibit nine: Galileo

“Making strange”: the fine art of seeing otherwise

chapter 22|3 pages

Exhibit under construction: Angels in America

Seeing double

part III|2 pages

From Sophocles’ urn to Wittgenstein’s box

chapter 24|5 pages

Brief introduction: theater’s telos

The engendering of fellow-feeling

chapter 25|28 pages

The ancients

chapter 26|9 pages

The transition

chapter 27|15 pages

The moderns

chapter 28|4 pages

And now?