ABSTRACT
We witness the next phase in the evolution of this veiling technique in dramas of the Storm and Stress, in which the same techniques popularized in bourgeois tragedy are employed to elicit audience identification, but are then symbolically negated. In these plays identification is first solicited but later ultimately rejected as a necessary means of gaining access to truth. Despite the Storm and Stress use of veiled mediation, the apparent lack of mediation does not grant (or appear to grant) direct access to truth in these dramas; instead this unmediated quality is manipulated and folded back onto itself in order to highlight the difficulties inherent in the constitution of identity and identification.
