Pannill Camp
Biographic Data
| ID | 1208696 |
|---|---|
| NAME | Pannill Camp |
| GIVEN NAMES | Pannill |
| FAMILY NAME | Camp |
| SIGNATURE | CAMP P |
| AFFILIATIONS | Washington University in St. Louis |
| VERIFIED | No |
| TOTAL WORKS | 10 |
| TOTAL CITATIONS | 1 |
| WORKS AS AUTHOR | 10 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2007 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 1 |
Ibsenism, Immanent Critique, and The Wild Duck
Action and Event
Familiar accounts of the intellectual origins of performance theory downplay the ideas inherited from Durkheimian and Marxian social theory by way of British social anthropology. Structural functionalism as taught by A.R. Radcliffe-Brown and the Marx-inflected social anthropology of Max Gluckman are key but underappreciated junctures between classical social theory and performance theory. This lineage helps explain the ongoing tension in performa…
May Philosophy Flourish
In eighteenth-century Europe, ritual performance behavior was consciously used for philosophical purposes. The richest documented instances of this involved Freemasonry, a voluntary fraternal order that drew tens of thousands of men, across Europe and beyond, into a secretive ritual practice. Masons understood ritual, the core of Masonic “craft,” as a philosophical activity in itself. Supporting this claim requires a critique of the prevalent vie…
The Theatre of Moral Sentiments
The oft-cited theatricality of Adam Smith's impartial spectator is contentious and rests on a generalized notion of theatre. This essay argues both that Smith, like his predecessors in sentimental moral philosophy, thought of spectatorship theatrically and that Smith's spectatorship framework is rooted in French neoclassical dramaturgy. Smith's formulation of sympathy in the Theory of Moral Sentiments bolsters this view, as does the correspondenc…
A Critique of Historio-scenography
As Michel Foucault said in 1980, “A whole history remains to be written of spaces ,” 1 and while other academic fields may be able to abide without confronting this challenge, theatre and performance are too profoundly saturated with spatial relationships to allow us to avoid engaging with space directly. Historians of theatre and performance may find this incitement particularly daunting because theatre space is an unusually complicated historic…
The First Frame
In the late eighteenth century, a movement to transform France's theatre architecture united the nation. Playwrights, philosophers, and powerful agents including King Louis XV rejected the modified structures that had housed the plays of Racine and Molière, and debated which playhouse form should support the future of French stagecraft. In The First Frame, Pannill Camp argues that these reforms helped to lay down the theoretical and practical fou…
Dramatic Battles in Eighteenth-Century France
Reviewed by: Dramatic Battles in Eighteenth-Century France: Philosophes, Anti-Philosophes and Polemical Theatre by Logan J. Connors Pannill Camp Dramatic Battles in Eighteenth-Century France: Philosophes, Anti-Philosophes and Polemical Theatre. By Logan J. Connors. Studies on Voltaire and the Eighteenth Century, book 7. Oxford: Voltaire Foundation, 2012; pp. 280. The summer of 1760 witnessed a sensational episode in the history of the Comédie-Fra…
Le coup d'œil du spectateur
The sightlines which architects such as Oppenord and Roubo the Younger drew on their theatre plans demonstrate an attempt to align stage spaces and optical fields. Indeed, the reform‐minded architects of the period 1748 to 1784 applied geometrical forms to their plans, and adopted a terminology borrowed from optics, the science of light and vision. In focusing specifically on the theoretical texts and architectural drawings published between 1765…
La Dernière Bande / Krapp's Last Tape, and
Theatre Optics
Claude-Nicolas Ledoux's 1804 engraving of a human eye that encompasses a theatre auditorium points to a neglected aspect of the history of Western theatre architecture: eighteenth-century architects in France drew spatial concepts and geometric forms from optics and applied them to reformist theatre designs. This borrowing from optics shows that the stage incorporated the representation of space that dominated Enlightenment natural philosophy, an…
The Theatre of Moral Sentiments
The oft-cited theatricality of Adam Smith's impartial spectator is contentious and rests on a generalized notion of theatre. This essay argues both that Smith, like his predecessors in sentimental moral philosophy, thought of spectatorship theatrically and that Smith's spectatorship framework is rooted in French neoclassical dramaturgy. Smith's formulation of sympathy in the Theory of Moral Sentiments bolsters this view, as does the correspondenc…
La Dernière Bande / Krapp's Last Tape, and
Theatre Optics
Claude-Nicolas Ledoux's 1804 engraving of a human eye that encompasses a theatre auditorium points to a neglected aspect of the history of Western theatre architecture: eighteenth-century architects in France drew spatial concepts and geometric forms from optics and applied them to reformist theatre designs. This borrowing from optics shows that the stage incorporated the representation of space that dominated Enlightenment natural philosophy, an…
Le coup d'œil du spectateur
The sightlines which architects such as Oppenord and Roubo the Younger drew on their theatre plans demonstrate an attempt to align stage spaces and optical fields. Indeed, the reform‐minded architects of the period 1748 to 1784 applied geometrical forms to their plans, and adopted a terminology borrowed from optics, the science of light and vision. In focusing specifically on the theoretical texts and architectural drawings published between 1765…
The First Frame
In the late eighteenth century, a movement to transform France's theatre architecture united the nation. Playwrights, philosophers, and powerful agents including King Louis XV rejected the modified structures that had housed the plays of Racine and Molière, and debated which playhouse form should support the future of French stagecraft. In The First Frame, Pannill Camp argues that these reforms helped to lay down the theoretical and practical fou…
Dramatic Battles in Eighteenth-Century France
Reviewed by: Dramatic Battles in Eighteenth-Century France: Philosophes, Anti-Philosophes and Polemical Theatre by Logan J. Connors Pannill Camp Dramatic Battles in Eighteenth-Century France: Philosophes, Anti-Philosophes and Polemical Theatre. By Logan J. Connors. Studies on Voltaire and the Eighteenth Century, book 7. Oxford: Voltaire Foundation, 2012; pp. 280. The summer of 1760 witnessed a sensational episode in the history of the Comédie-Fra…
A Critique of Historio-scenography
As Michel Foucault said in 1980, “A whole history remains to be written of spaces ,” 1 and while other academic fields may be able to abide without confronting this challenge, theatre and performance are too profoundly saturated with spatial relationships to allow us to avoid engaging with space directly. Historians of theatre and performance may find this incitement particularly daunting because theatre space is an unusually complicated historic…
The Theatre of Moral Sentiments
The oft-cited theatricality of Adam Smith's impartial spectator is contentious and rests on a generalized notion of theatre. This essay argues both that Smith, like his predecessors in sentimental moral philosophy, thought of spectatorship theatrically and that Smith's spectatorship framework is rooted in French neoclassical dramaturgy. Smith's formulation of sympathy in the Theory of Moral Sentiments bolsters this view, as does the correspondenc…
May Philosophy Flourish
In eighteenth-century Europe, ritual performance behavior was consciously used for philosophical purposes. The richest documented instances of this involved Freemasonry, a voluntary fraternal order that drew tens of thousands of men, across Europe and beyond, into a secretive ritual practice. Masons understood ritual, the core of Masonic “craft,” as a philosophical activity in itself. Supporting this claim requires a critique of the prevalent vie…
Action and Event
Familiar accounts of the intellectual origins of performance theory downplay the ideas inherited from Durkheimian and Marxian social theory by way of British social anthropology. Structural functionalism as taught by A.R. Radcliffe-Brown and the Marx-inflected social anthropology of Max Gluckman are key but underappreciated junctures between classical social theory and performance theory. This lineage helps explain the ongoing tension in performa…
Ibsenism, Immanent Critique, and The Wild Duck
Philosophy (8 works) · Art (7 works) · Historical and Literary Studies (6 works) · Aesthetics (5 works) · Law (5 works) · Philosophy (5 works) · Art history (4 works) · Epistemology (4 works) · History (4 works) · Law (4 works)