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A History of Collective CreationCollective Creation as a Theatre of Immanence

A History of Collective Creation: Collective Creation as a Theatre of Immanence [In this chapter I want to focus on the philosophical implications of collective creation with respect to the work of the US company The Living Theatre (1947–) and in relation to the philosophy of Gilles Deleuze (1925– 95). That is, this chapter starts from the premise that what is at stake in collective creation is ontological, as well as ethical and political, and suggests that we might be well equipped to understand the ethical and political dimensions of this instance of collective creation from a philosophical point of view. In particular, I want to examine the productivity of addressing the specificity of collective creation as a method of organizing the process of performance making, in the light of the conceptual dyad of immanence/ transcendence that is at the heart of Deleuze’s thought. Then, having argued that both immanence and transcendence are best understood as tendencies rather than mutually exclusive qualities, I draw from some additional examples—including Jerzy Grotowski and the contemporary performance company Goat Island—to explore collective creation as a mode of performance practice that is defined not simply in terms of a rejection of the (transcendent) figures of “the director” and “the author” but as a practice that constitutes an immanent rethinking of both directing and authorship. Or, framed differently, I want to try to articulate the complex philosophical, ethical, and political relationship between collective creation and its “others” (i.e., directed and/or scripted theatre).] http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png

A History of Collective CreationCollective Creation as a Theatre of Immanence

Editors: Syssoyeva, Kathryn Mederos; Proudfit, Scott

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References (16)

Publisher
Palgrave Macmillan US
Copyright
© Palgrave Macmillan, a division of Nature America Inc. 2013
ISBN
978-1-349-46134-9
Pages
129 –143
DOI
10.1057/9781137331304_8
Publisher site
See Chapter on Publisher Site

Abstract

[In this chapter I want to focus on the philosophical implications of collective creation with respect to the work of the US company The Living Theatre (1947–) and in relation to the philosophy of Gilles Deleuze (1925– 95). That is, this chapter starts from the premise that what is at stake in collective creation is ontological, as well as ethical and political, and suggests that we might be well equipped to understand the ethical and political dimensions of this instance of collective creation from a philosophical point of view. In particular, I want to examine the productivity of addressing the specificity of collective creation as a method of organizing the process of performance making, in the light of the conceptual dyad of immanence/ transcendence that is at the heart of Deleuze’s thought. Then, having argued that both immanence and transcendence are best understood as tendencies rather than mutually exclusive qualities, I draw from some additional examples—including Jerzy Grotowski and the contemporary performance company Goat Island—to explore collective creation as a mode of performance practice that is defined not simply in terms of a rejection of the (transcendent) figures of “the director” and “the author” but as a practice that constitutes an immanent rethinking of both directing and authorship. Or, framed differently, I want to try to articulate the complex philosophical, ethical, and political relationship between collective creation and its “others” (i.e., directed and/or scripted theatre).]

Published: Oct 29, 2015

Keywords: Creative Process; Classical Music; Continental Philosophy; Paradise Lost; Minor Theatre

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