Philosophy and Theatre: An Introduction

Enhanced descriptions from Syndetics:

The relationship between philosophy and theatre is a central theme in the writings of Plato and Aristotle and of dramatists from Aristophanes to Stoppard. Where Plato argued that playwrights and actors should be banished from the ideal city for their suspect imitations of reality, Aristotle argued that theatre, particularly tragedy, was vital for stimulating our emotions and helping us to understanding ourselves.

Despite this rich history the study of philosophy and theatre has been largely overlooked in contemporary philosophy. This is the first book to introduce philosophy and theatre. It covers key topics and debates, presenting the contributions of major figures in the history of philosophy, including:

what is theatre? How does theatre compare with other arts? theatre as imitation, including Plato on mimesis truth and illusion in the theatre, including Nietzsche on tragedy theatre as history theatre and morality, including Rousseau's criticisms of theatre audience and emotion, including Aristotle on catharsis theatre and politics, including Brecht's Epic Theatre.

Including annotated further reading and summaries at the end of each chapter, Philosophy and Theatre is an ideal starting point for those studying philosophy, theatre studies and related subjects in the arts and humanities.

Table of contents provided by Syndetics

• Acknowledgements (p. viii)
• Preface (p. ix)
• 1 What is Theatre? (p. 1)
• Part I From the World to the Stage (p. 19)
• 2 Mimesis: Imitation and Imagination (p. 21)
• 3 Truth and Illusion (p. 47)
• 4 History in the Making: Theatre and the Past (p. 75)
• Part II From the Stage to the World (p. 99)
• 5 A School of Morals? (p. 101)
• 6 Emotions (p. 128)
• 7 Collective Action: Theatre and Politics (p. 160)
• Bibliography (p. 193)
• Index (p. 203)

Reviews provided by Syndetics

CHOICE Review

Theater is among the most ancient of the fine arts. Ancient, too, are the philosophical questions surrounding theater and theatrical performance. Plato and Aristotle had plenty to say about the nature and value of theater, particularly tragic theater. The same, however, cannot be said for contemporary philosophers of art. Their work tends to focus more on the visual arts (e.g., painting, sculpture, and film), music, and literature. Stern's book on philosophy and theater, therefore, makes a distinctive contribution. What is the nature of theater, and how does it compare to the other arts? Stern (Univ. College London, UK) begins his study with this question. From there, over the next six chapters, he takes up a variety of questions and topics central to the study of philosophy and theater, including mimesis, truth and illusion, history plays, morality, audience and emotion, and politics. Stern's writing is clear and his arguments are easy to follow. Copious endnotes demonstrate his careful scholarship. The further readings at the end of each chapter are particularly helpful. Altogether, this is a fine book for those wishing to become acquainted with the philosophical significance of theater. It would also serve as a wonderful supplementary text for a course on philosophy and theater. Summing Up: Recommended. Lower-division undergraduates through faculty/researchers. F. A. Grabowski Rogers State University