In this highly original study of the nature of performance, Spencer Golub uses the insights of Ludwig Wittgenstein into the way language works to analyze the relationship between the linguistic and the visual in the work of a broad range of dramatists, novelists, and filmmakers, among them Richard Foreman, Mac Wellman, Peter Handke, David Mamet, and Alfred Hitchcock. Like Wittgenstein, these artists are concerned with the limits of language’s representational capacity. For Golub, it is these limits that give Wittgenstein’s thought a further, very personal significance—its therapeutic quality with respect to the Obsessive Compulsive Disorder from which he suffers.
Underlying what Golub calls “performance behavior” is Wittgenstein’s notion of “pain behavior”—that which gives public expression to private experience. Golub charts new directions for exploring the relationship between theater and philosophy, and even for scholarly criticism itself.
|Publisher:||Northwestern University Press|
|Product dimensions:||5.80(w) x 9.00(h) x 1.00(d)|
About the Author
SPENCER GOLUB, a professor of theater arts and performance studies, Slavic languages, and comparative literature at Brown University, is the author of Infinity (Stage) (1999), The Recurrence of Fate: Theatre and Memory in Twentieth-Century Russia (1994), and Evreinov: The Theatre of Paradox and Transformation (1984).
Table of Contents
List of Abbreviations of Works by Wittgenstein xiii
Introduction: Thoughts Thinking Themselves 3
Chapter 1 Tractatus Illogico-Philosophicus 15
Chapter 2 Wittgenstein's Anatomy 35
Chapter 3 Catastrophists 59
Chapter 4 Doors of Misperception 89
Chapter 5 Rules of the Game
Chapter 6 Non-Sleeper Agents 147
Chapter 7 Masterminds 179
Chapter 8 The Idiot's Anxiety at the Object's Disappearance 207
Chapter 9 Homeless 233