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[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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