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Memory in Play

Part of the Palgrave Studies in Theatre and Performance History Book Series

DOI: 10.1057/9780230617162

ISBN: 978-1-349-37241-6

Publisher: Palgrave Macmillan US - Springer Journals

Nov 3, 2015

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Chapter 1Introduction

Favorini, Attilio

Pages: 1 –11

[This is a book about how dramatic constructions of memory correspond with those of “memographers,” my own coinage for thinkers and writers about memory, irrespective of discipline. It has its origins in a paper I presented at the 1995 conference of the American Society for Theatre Research,...
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Chapter 2Drama and the History of Memory

Favorini, Attilio

Pages: 13 –45

[The ways in which memory is normally discussed reflect the common terminology of past millenia. Even today, popular conceptions of memory are frequently couched in a vocabulary that was old in Aristotle’s time. Though the history of memory has been addressed occasionally by historians of...
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Chapter 3Drama and the Memory of History

Favorini, Attilio

Pages: 47 –85

[Aeschylus’ fact-driven The Persians can be identified as the first surviving example of the documentary impulse in Western theatre. It thus initiates an argument of how theatre remembers history that persists to the present, in such instances as the documentary theatre pieces of Moisés Kaufman...
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Chapter 4Memory Plays before “Memory Play”

Favorini, Attilio

Pages: 87 –136

[As Greek protagonists, whether in tragedy or comedy, are strong-willed probem-solvers; as Elizabethan heroes are essentially explorers of every social and psychological corner, even as their Renaissance counterparts searched the globe; as the contestants of French classical theatre are...
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Chapter 5The “Memory Play” and After: Narrative Paradigms

Favorini, Attilio

Pages: 137 –178

[Within the discipline of psychology, Frederic Bartlett’s 1932 Remembering inaugurated a “brief period of interest in ‘ordinary’ remembering and forgetting” (Richards 2002, 132), before memory was reabsorbed into the clinical study of psychopathology on the one hand and the laboratory study of...
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Chapter 6Drama of Mnemic Signs

Favorini, Attilio

Pages: 179 –226

[The remembering narrator may be credible or unreliable. He may have the only perspective on the past, or only one among competing perspectives. His memorial project may seem fully accomplished, a work in progress, obstructed and repressed, or even entirely frustrated. His memory may be bound...
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Chapter 7Confrontation or Convergence: Staging the Encounter of History and Memory

Favorini, Attilio

Pages: 227 –274

[The emphasis in Mnemonic on the cultural and historical context of remembering adds a cautionary note to the brain-centric account of memory that dominated the previous chapter. I do not want memory to slip away into the abstraction of pattern recognition or recategorization on the one hand, and...

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