Difference between revisions of "Rhapsody for the Theatre"
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==Book Description== | ==Book Description== | ||
| − | For Alain Badiou, theatre—unlike cinema—creates a space in which philosophy can be lived. It is, of all the arts, the most closely related to politics: both depend on a limited number of texts or statements, which are collectively enacted by a group of actors or militants who test the limits of the structure inn which they are confined, be it the medium of drama or the nation-state. For this reason, the history of theatre is inseparable from the history of state repression and censorship. | + | For [[Alain]] [[Badiou]], theatre—unlike cinema—creates a [[space]] in which [[philosophy]] can be lived. It is, of all the [[arts]], the most closely related to [[politics]]: both depend on a limited [[number]] of [[texts]] or statements, which are collectively enacted by a group of actors or militants who [[test]] the limits of the [[structure]] inn which they are confined, be it the medium of drama or the [[nation]]-[[state]]. For this [[reason]], the [[history]] of theatre is inseparable from the history of state [[repression]] and [[censorship]]. |
| − | This definitive collection of Badiou’s work on the theatre includes not only the title essay “Rhapsody for the Theatre,” originally published as a pamphlet in France, but also essay on Jean-Paul Sartre, on the political destiny of contemporary drama, and on Badiou’s own work as a playwright. | + | This definitive collection of Badiou’s [[work]] on the theatre includes not only the title essay “Rhapsody for the Theatre,” originally published as a pamphlet in [[France]], but also essay on Jean-[[Paul]] [[Sartre]], on the [[political]] destiny of contemporary drama, and on Badiou’s own work as a playwright. |
Latest revision as of 22:18, 20 May 2019
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