Martin Puchner
Biographic Data
| ID | 976031 |
|---|---|
| NAME | Martin Puchner |
| GIVEN NAMES | Martin |
| FAMILY NAME | Puchner |
| SIGNATURE | PUCHNER M |
| AFFILIATIONS | Columbia University |
| VERIFIED | No |
| TOTAL WORKS | 20 |
| TOTAL CITATIONS | 19 |
| WORKS AS AUTHOR | 20 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2001 |
| LATEST PUBLICATION YEAR | 2022 |
| H-INDEX | 2 |
Literature for a Changing Planet
CHAPTER Four. How to Anthologize the World
World literature and the creation of literary worlds
Between Text and Performance
This essay introduces a Common Knowledge symposium on the relationship between texts (for instance, musical scores or dramatic scripts) and performance in the arts by drawing out its implications for the interpretation of publicly consequential texts (such as constitutions, legal statutes, and canon law). Arguing that judges and clerics could learn much from studying the work of Philip Gossett and other practitioners of textual criticism in the a…
Drama and Performance
In theater studies, the dramatic text tends to be treated as a remnant of an older and even old-fashioned type of theater that has now been replaced by a "post-dramatic" theater, answering only to the logic of performance. Against that view, the article argues for the continuing importance of the dramatic text across different types of theater, including those termed post-dramatic. For what has changed in the case of theater groups such as the Wo…
The Drama of Ideas
Most philosophy has rejected the theater, denouncing it as a place of illusion or moral decay; the theater in turn has rejected philosophy, insisting that drama deals in action, not ideas. Challenging both views, this book shows that theater and philosophy have always been crucially intertwined. Plato is the presiding genius of this alternative history, not only as a theorist of drama, but also as a dramatist himself, one who developed a dialogue…
It's Not Over ('Til It's Over)
The essay argues against the widespread assumption that avant-garde art is something that is irretrievably lost to history, that the original fervor of avant-garde practice is impossible today. Instead of a history of decline, it proposes a history of repetition, according to which new avant-gardes make use of their predecessors without being trapped in the past. Two recent manifesto publications and the reuse of two historical avant-garde locati…
Performing the Open
Three scenes of performance, corresponding to a parallel effort by Giorgio Agamben in his critique of the “anthropological machine,” suggest a strategy of “negative mimesis” to counter the stubborn anthropocentrism of the Western philosophical tradition
Bad Modernisms
Entanglements
Focusing on four dimensions of the journal's 50-year history—objects of analysis, methods of analysis, functions the journal fulfilled with respect to the theatrical culture it engaged, and changing institutional relations and affiliations—reveals how TDR was crucially shaped by the entanglements among these dimensions
Entanglements
Sade's Theatrical Passions
Sade’s Theatrical Passions Martin Puchner (bio) The Theater of the Revolution The Marquis de Sade entered theater history in 1964 when the Royal Shakespeare Company, under the direction of Peter Brook, presented a play by the unknown author Peter Weiss entitled, The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis de Sade.1 Marat/Sade, as the play is usually…
Doing Logic with a Hammer
This essay situates Wittgenstein's Tractatus and other writings of the Vienna Circle in the context of various political and artistic avant-garde movements of the early twentieth century. Despite the Circle's emphasis on logical analysis, its writings were drawn into the polemics that characterized avant-garde groups, in particular their reliance on manifestos. The essay uses the manifestos of the Vienna Circle as a lens through which to uncover …
Society of the Counter-Spectacle
This article examines the work of the Situationists and their leading member, Guy Debord, as it relates to theatre history and the history of the manifesto. The Situationists privileged the writing of manifestos over the production of art works in order to avoid the fate of the historical avant-garde, whose provocative art had been co-opted by the cultural establishment. Despite this pro-manifesto and anti-art stance, the Situationists drew on th…
Beckett/Albee (review)
BECKETT/ALBEE. By Samuel Beckett and Edward Albee. Century Center for the Performing Arts, New York City. 23 October 2003
Kafka's Antitheatrical Gestures
Kafka and the Theater
Manifesto = Theatre
In his "Ontological-Hysteric Manifesto I" (1972), Richard Foreman evokes the equation between theatre and manifesto without however committing to their identity. Both terms, manifesto and theatre, refer to the act of making visible: "manifesto" is derived from the Latin verb manifestare, which means "to bring into the open, to make manifest" and "theatre" from the Greek theatron, "a place of seeing." But this kinship, this alliance in visibility,…
The Theater in Modernist Thought
New Literary History - Volume 33, Number 3, Summer 2002
The Portable Theater
The Drama of Ideas
Most philosophy has rejected the theater, denouncing it as a place of illusion or moral decay; the theater in turn has rejected philosophy, insisting that drama deals in action, not ideas. Challenging both views, this book shows that theater and philosophy have always been crucially intertwined. Plato is the presiding genius of this alternative history, not only as a theorist of drama, but also as a dramatist himself, one who developed a dialogue…
Manifesto = Theatre
In his "Ontological-Hysteric Manifesto I" (1972), Richard Foreman evokes the equation between theatre and manifesto without however committing to their identity. Both terms, manifesto and theatre, refer to the act of making visible: "manifesto" is derived from the Latin verb manifestare, which means "to bring into the open, to make manifest" and "theatre" from the Greek theatron, "a place of seeing." But this kinship, this alliance in visibility,…
Drama and Performance
In theater studies, the dramatic text tends to be treated as a remnant of an older and even old-fashioned type of theater that has now been replaced by a "post-dramatic" theater, answering only to the logic of performance. Against that view, the article argues for the continuing importance of the dramatic text across different types of theater, including those termed post-dramatic. For what has changed in the case of theater groups such as the Wo…
It's Not Over ('Til It's Over)
The essay argues against the widespread assumption that avant-garde art is something that is irretrievably lost to history, that the original fervor of avant-garde practice is impossible today. Instead of a history of decline, it proposes a history of repetition, according to which new avant-gardes make use of their predecessors without being trapped in the past. Two recent manifesto publications and the reuse of two historical avant-garde locati…
Doing Logic with a Hammer
This essay situates Wittgenstein's Tractatus and other writings of the Vienna Circle in the context of various political and artistic avant-garde movements of the early twentieth century. Despite the Circle's emphasis on logical analysis, its writings were drawn into the polemics that characterized avant-garde groups, in particular their reliance on manifestos. The essay uses the manifestos of the Vienna Circle as a lens through which to uncover …
The Portable Theater
Manifesto = Theatre
In his "Ontological-Hysteric Manifesto I" (1972), Richard Foreman evokes the equation between theatre and manifesto without however committing to their identity. Both terms, manifesto and theatre, refer to the act of making visible: "manifesto" is derived from the Latin verb manifestare, which means "to bring into the open, to make manifest" and "theatre" from the Greek theatron, "a place of seeing." But this kinship, this alliance in visibility,…
The Theater in Modernist Thought
New Literary History - Volume 33, Number 3, Summer 2002
Kafka's Antitheatrical Gestures
Kafka and the Theater
Society of the Counter-Spectacle
This article examines the work of the Situationists and their leading member, Guy Debord, as it relates to theatre history and the history of the manifesto. The Situationists privileged the writing of manifestos over the production of art works in order to avoid the fate of the historical avant-garde, whose provocative art had been co-opted by the cultural establishment. Despite this pro-manifesto and anti-art stance, the Situationists drew on th…
Beckett/Albee (review)
BECKETT/ALBEE. By Samuel Beckett and Edward Albee. Century Center for the Performing Arts, New York City. 23 October 2003
Sade's Theatrical Passions
Sade’s Theatrical Passions Martin Puchner (bio) The Theater of the Revolution The Marquis de Sade entered theater history in 1964 when the Royal Shakespeare Company, under the direction of Peter Brook, presented a play by the unknown author Peter Weiss entitled, The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis de Sade.1 Marat/Sade, as the play is usually…
Doing Logic with a Hammer
This essay situates Wittgenstein's Tractatus and other writings of the Vienna Circle in the context of various political and artistic avant-garde movements of the early twentieth century. Despite the Circle's emphasis on logical analysis, its writings were drawn into the polemics that characterized avant-garde groups, in particular their reliance on manifestos. The essay uses the manifestos of the Vienna Circle as a lens through which to uncover …
Bad Modernisms
Entanglements
Focusing on four dimensions of the journal's 50-year history—objects of analysis, methods of analysis, functions the journal fulfilled with respect to the theatrical culture it engaged, and changing institutional relations and affiliations—reveals how TDR was crucially shaped by the entanglements among these dimensions
Entanglements
Performing the Open
Three scenes of performance, corresponding to a parallel effort by Giorgio Agamben in his critique of the “anthropological machine,” suggest a strategy of “negative mimesis” to counter the stubborn anthropocentrism of the Western philosophical tradition
The Drama of Ideas
Most philosophy has rejected the theater, denouncing it as a place of illusion or moral decay; the theater in turn has rejected philosophy, insisting that drama deals in action, not ideas. Challenging both views, this book shows that theater and philosophy have always been crucially intertwined. Plato is the presiding genius of this alternative history, not only as a theorist of drama, but also as a dramatist himself, one who developed a dialogue…
It's Not Over ('Til It's Over)
The essay argues against the widespread assumption that avant-garde art is something that is irretrievably lost to history, that the original fervor of avant-garde practice is impossible today. Instead of a history of decline, it proposes a history of repetition, according to which new avant-gardes make use of their predecessors without being trapped in the past. Two recent manifesto publications and the reuse of two historical avant-garde locati…
World literature and the creation of literary worlds
Between Text and Performance
This essay introduces a Common Knowledge symposium on the relationship between texts (for instance, musical scores or dramatic scripts) and performance in the arts by drawing out its implications for the interpretation of publicly consequential texts (such as constitutions, legal statutes, and canon law). Arguing that judges and clerics could learn much from studying the work of Philip Gossett and other practitioners of textual criticism in the a…
Drama and Performance
In theater studies, the dramatic text tends to be treated as a remnant of an older and even old-fashioned type of theater that has now been replaced by a "post-dramatic" theater, answering only to the logic of performance. Against that view, the article argues for the continuing importance of the dramatic text across different types of theater, including those termed post-dramatic. For what has changed in the case of theater groups such as the Wo…
Literature for a Changing Planet
CHAPTER Four. How to Anthologize the World
Art (15 works) · Philosophy (8 works) · Aesthetics (7 works) · History (7 works) · Literature (7 works) · Sociology (6 works) · Visual arts (6 works) · Art history (5 works) · Epistemology (5 works) · Law (4 works)