ABSTRACT
This conclusion presents some closing thoughts on concepts discussed in this book. The dramatic text lives on as literature; theatrical performance exists in an unrepeatable present. Bakhtin's central criticism of dramatic dialogue was that it was less capable of reflecting the divided mind of a character. Bakhtin argues that a character can only be authored by another, and this through an act of aesthetic altruism. The early Bakhtin offers two accounts of time and space: the first is a phenomenological description of the experience of being an embodied self, that is, of being in time and space. Grotowski was much more concerned with the ethical dialogue between audience and actor, and aesthetics played a secondary role in his theatre. Later he would offer an account of the genres or forms of time and space in written narratives. In teaching his system of acting, Konstantin Stanislavsky required the actors to uncover the subtext of their lines in a play.
