ABSTRACT
Jerry Harp in “In the Nick: Theatre in and of Our Times” speaks of how “the theatre ghost is some convergence of the remaining human energies circulating in the place long after the final performance has ended.” Then, he offers current examples of how such theatre is no less “a vital response to the living moment.” Through a detailed analysis of the rehearsal process of Rebecca Lingafelter’s staging of Anne’s Carson’s Antigonick, he shows how, by the very act of coming to terms with the text, exploring the [actor’s] voice as body and the body as voice, the director and cast affirm the essence, the significance of this “sacred and secular space”—the theatre.
