182

Notes

Prologue: ‘After Auschwitz’: Survival of the Aesthetic

1. In 1959 the German poet Hans Magnus Enzensberger called Adorno’s state-ment ‘one of the harshest judgments that can be made about our times: after Auschwitz it is impossible to write poetry’, and urges that ‘if we want to con-tinue to live, this sentence must be repudiated’. Hans Magnus Enzensberger, ‘Die Steine der Freiheit’ in Petra Kiedaisch (ed.). Lyrik nach Auschwitz? Adorno und die Dichter (73).

2. Herbert Marcuse, too, criticised the tendency toward uniformity and repres-sion of individuality in modern technological society in his seminal 1964 study One-Dimensional Man: Studies in the Ideology of Advanced industrial Society.

3. For philosophers such as Hannah Arendt the culmination of totalitar-ian power as executed in the camps led not only to the degradation and extermination of people, it also opened profound and important questions about our understanding of humanity and ethics (see: Arendt, The Origins of Totalitarianism). The question of an ethical response to Auschwitz also preoc-cupies Giorgio Agamben who argues that an ethical attempt to bear witness (testimony) to Auschwitz must inevitably confront the impossibility of speak-ing without, however, condemning Auschwitz to the ‘forever incomprehensi-ble’ (Remnants of Auschwitz 11).

4. See Alan Milchman and Alan Rosenberg’s Postmodernism and the Holocaust. However, Adorno’s response to the Holocaust is not discussed in this volume. His most notable reflections on Auschwitz can be found in Negative Dialectics (‘Meditations on Metaphysics’), Metaphysics: Concepts and Problems (1965), and in the collection Can one Live after Auschwitz?

5. See the chapter in Adorno and Horkheimer’s ‘The Culture Industry: Enlightenment as Mass Deception’ in Dialectic of Enlightenment where the authors discuss the schematic nature of advertisement and film production, and the construction of audiences as consumers and customers.

6. Lyotard also argues that the event has the power to alter the dominant forms and movements of desire, which in the economic system of capi-talist society are shaped according to the needs of the totality (the need to produce and exchange). The event elicits a crisis of desire because it mutates ‘the relation between what is desired and what is given, between potential energy and the social machinery’ (Lyotard, ‘March 22’ in Political Writings 65).

7. Adorno develops the notion of a ‘forced’ or ‘extorted reconciliation’ between art and objective reality in an essay on the work of Georg Lukács, where he criticises Lukács’s socialist realism as undialectical and ‘stubborn vulgar mate-rialism’ (Adorno, ‘Extorted Reconciliation: On Georg Lukács’ Realism in Our Time’. Notes to Literature Vol. 1).

Notes 183

8. Adorno argued that the culture industry manufactured standardised (rei-fied) responses to music, which he called modes of ‘regressive listening’. See Adorno, ‘Über den Fetischcharacter in der Musik und die Regression des Hörens’. Dissonanzen. Musik in der verwalteten Welt.

1 Adorno and Beckett: from the Crisis of Schein to the Fidelity to Failure

1. Hartmut Scheible points out that despite his aesthetic and philosophical nominalism Adorno nevertheless emphasises the importance of authentic art to negate the false empirical reality. Scheible argues that Adorno’s theory of art as an immanent transcendence of reality is an example of his ‘ideal-ism without ideal’. See Hartmut Scheible, ‘Geschichte im Stillstand. Zur Ästhetischen Theorie Theodor W. Adornos’, Heinz Ludwig Arnold (ed.). Text+Kritik, Zeitschrift für Literatur, T. W. Adorno (104ff).

2. See Immanuel Kant, Kritik der reinen Vernunft (Critique of Pure Reason), 379. Kant calls the illusion offered by the categories of reason ‘transcendental’ (transzendentaler Schein).

3. See Adorno, ‘Kulturkritik und Gesellschaft’ (1951), 30: ‘[N]ach Auschwitz ein Gedicht zu schreiben, ist barbarisch’ (To write poetry after Auschwitz is barbaric).

Adorno, ‘Die Kunst und die Künste’ (‘Art and the Arts’) in Kulturkritik und Gesellschaft 1, Gesammelte Schriften, 10.1 (452): ‘Während die Situation Kunst nicht mehr zulässt – darauf zielte der Satz über die Unmöglichkeit von Gedichten nach Auschwitz – bedarf sie doch ihrer’ (While the situation does not tolerate art – this was meant by the statement about the impossibility of poetry after Auschwitz – it nevertheless calls for art).

4. Beckett’s ‘Dante . . . Bruno. Vico . . . Joyce’ and other criticism and reviews con-tain the seeds of an aesthetic imagination that would flourish in his novels and find their most accomplished expression in his drama. This essay’s significance to Beckett’s ensuing creative progress could be compared to the importance of Adorno’s programmatic essay ‘The Actuality of Philosophy’ for his later devel-opment. One gets the impression that both men’s philosophical and aesthetic projects are contained in miniature in their earliest critical writings.

5. Whilst the inclusion of the aesthetic concerns of both writers in a wider (and by implication general, universal) context may perhaps in itself seem prob-lematic, their shared concern for the particular in art has parallels in Adorno’s interest in the dialectic between the particular and the universal in modernist artworks and his defence of the somatic or material moments of thought.

2 Edward Bond and the Aesthetics of Resistance

1. Even though Horkheimer and Adorno do refer to the historical movement of eighteenth-century European Enlightenment, more often they consider enlightenment as a trans-historical phenomenon, or impulse, which is con-nected to processes of self-preservation and the differentiation between the human and the natural world.

184 Notes

2. Adorno notices a development of de-aestheticisation in modern art (‘Entkunstung der Kunst’), which began with modernist avant-garde art’s attack on its status as art and the desire to dissolve the boundaries between art and life (the desire to narrow art’s distance from its viewer).

3. David L. Hirst acknowledges Bond’s presentation of a ‘savage picture of abuse and irrationality’ (Edward Bond 124), which is true for most of his work, but in Saved no clear answers to the dramatised social problems are articulated. This is perhaps because the ‘picture of abuse and irrationality’ as presented in this play is contained within a specific social group and loca-tion, as pointed out above. The realism of the play resists the kind of exces-sive violence that becomes apparent in Bond’s later (both thematically and stylistically more complex) work.

4. Page references to quotes from Bond’s plays are provided in brackets in the main text.

5. Bond articulates the importance of the imagination in his notes to At The Inland Sea where he develops the idea that art (especially drama) is able to interrogate the irrationality of the world by stimulating our imagination and creativity. According to Bond, only when ‘we are made human by our imagi-nation’ (At The Inland Sea 78) will we be able to respond to the problems of the world rationally and constructively.

6. Bond rejects Beckett’s theatre and the absurdist aesthetic as forms of cultural nihilism which glorify and fetishise the idea of ‘nothingness’ (see Bond, ‘The Cap’. Plays: 7).

7. It seems that Bond is driven by a need to justify the existence of theatre in modern society and to emphasise its ‘use-value’ (Marx) in the age of post-modernity. Barker seems to argue differently: in a society where everything is designated a use-value and a function, the theatre should express no utilitarian aspirations, no meaning, no sense of responsibility. The function of theatre today should be to have no function (or, to put it with Adorno, a ‘negative function’).

8. For a detailed study of The Threepenny Lawsuit with reference to Brecht’s social and media theory see Steve Giles, Bertolt Brecht and Critical Theory: Marxism, Modernity and the Threepenny Lawsuit. An extract of Brecht’s account of his lawsuit is also published in John Willett’s translation of Brecht on Theatre: The Development of an Aesthetic (47–51).

9. See Bond, ‘Notes on Post-Modernism’ in Plays: 5. 10. See Jean-Paul Sartre’s What is Literature? 11. Originally published with the plays Jackets and In the Company of Men in Two

Post-Modern Plays. Also published in Plays: 5. 12. Bond’s play Coffee (1995), however, does show an interest in the complex

psychological landscape of his characters. Outer and inner worlds are inter-twined; dream realities and interpersonal power relations impinge on the objective reality of war, famine and genocide.

13. The same can be said about Hecuba in The Woman (1978), Bond’s ‘sceptical demythologisation of the Trojan War’ (David Ian Rabey, English Drama Since 1940 83). The play contains a sharp criticism of blind faith in myth and religion (religion is here turned into a political tool) and shows a world that is changeable if human beings develop the strength and will to question the ideological structures of their existence.

Notes 185

14. Emancipatory knowledge is here understood as the aim of Marx’s praxis-oriented theory. It means the understanding of one’s individual needs as well as the needs of the collective, with a view to changing the material conditions of life in an antagonistic society.

15. Weiss’ experiments with the documentary theatre form in the 1960s and the centrality of historical as well as political questions in his materialist aesthetic practice are discussed in Robert Cohen, ‘The Political Aesthetics of Holocaust Literature: Peter Weiss’ The Investigation and its Critics’ in History & Memory: Studies in Representation of the Past.

16. Born near Berlin in 1916 as the son of a Hungarian Jewish textile worker and a Swiss actress, Weiss emigrated with his family to England in 1935, then to Prague in 1936. In 1938, after the German invasion of the Sudetenland, his parents fled to Sweden while he moved to Switzerland. In 1939 he moved to Sweden and lived in Stockholm until his death in 1982.

3 David Rudkin’s Theatre of Myth

1. David Rudkin has also produced original work for radio, film and television, which will not be analysed in detail here, but is considered in David Ian Rabey’s study David Rudkin: Sacred Disobedience (1997).

2. Eagleton argues similarly in his discussion of Adorno’s call for a ‘return to the body’ (or the somatic moment) in thought, which finds its most distinc-tive expression in Adorno’s aesthetic project. As Eagleton remarks, Adorno is aware of the ‘dangerous illusion’ of positing ‘the body and its pleasures as an unquestionably affirmative category’, but he also recognises the pressing need to affirm the somatic, material, non-identical element of cognition, a project which can best be achieved by the aesthetic. See Eagleton, The Ideology of the Aesthetic 344. It seems that Adorno’s work is generally characterised by such a double-consciousness of the limitations and necessity (urgency) of atoning for what is being silenced, not only in history and contemporary culture but also in and through the very processes of cognition.

3. The aim of the de-mythologisation project was to rid people of irrational fear (of the unknown, darkness) and to make them see the light – a metaphor for reason and freedom.

4. In Violence and the Sacred René Girard argues that the basis of human society lies in the collective sacrifice of a victim (a scapegoat), which establishes a community identity. This act of sacrifice is re-enacted again and again in society’s myths and rituals and thus gains a sacred quality. Girard identifies persecution (scapegoating) and violence as playing essential roles in the social practices of the world’s civilisations.

5. Freud has reflected on the implications of man’s erect posture, our turning away from the earth, our sense of smell and our sexual behaviour. Due to man’s erect posture the sense of smell diminishes and no longer plays a cen-tral role in the arousing of sexual desire, which is now determined by visual signs (e.g. facial expression, the visibility of genitalia) and achieves a potential continuity which becomes regulated in the institution of the family. Freud puts it succinctly: ‘[a]t the beginning of the ill-fated cultural processes is the erection of the human being’, Freud, Das Unbehagen in der Kultur, 64–5 (my translation).

186 Notes

6. When Wana-Apu decides to unmake the creature by breathing the name of death into him, it transpires that the name of death is composed of the same letters (but in different order) as the name of birth, which establishes the idea that the moment of one’s birth already contains the writing of one’s death.

4 Howard Barker’s Theatre of Desire

1. See David Ian Rabey, English Drama Since 1940. 2. There are, for example, points of connection between Barker’s ‘theatre of

catastrophe’ and Lyotard’s aesthetic of the sublime. Lyotard’s suggestion that postmodern art presents the ‘unpresentable’ – the sublime sentiment, which is located ‘in an intrinsic combination of pleasure and pain’ (‘Answering the Question’ 131) – resonates strongly in Barker’s theatre. See Jean-François Lyotard, ‘Answering the Question: What is Postmodernism?’.

3. See Horkeimer and Adorno’s culture industry essay in Dialectic of Enlightenment, and Herbert Marcuse’s One-Dimensional Man.

4. This is the title of Francisco de Goya’s ‘Capricho’ no. 43. In this etching one sees the artist (perhaps Goya himself) resting on a table, asleep, while mon-strous dark birds hover around him.

5. W. Martin Lüdke comments on Adorno’s critique of the means–end logic of instrumental reason thus: ‘Eventually authoritarian thought (Herrschaftsdenken) also subjugates the thinking of domination (das Denken der Herrschaft); the reason of instrumentalisation instrumentalises reason so that in the end [. . .] the type of reason necessary for the development of self-preservation turns on itself and forces self-preservation into the logic of instrumental rationality.’ Anmerkungen zu einer ‘Logik des Zerfalls’: Adorno-Beckett 87. Translation KG.

6. In the 1992 production at the Almeida Theatre the character of ‘Goya’s voice’  was performed by an opera singer, and Goya by the actor Ian McDiarmid.

7. According to Lacan’s theory of the formation of subjectivity, the self, upon entering language, is subjected to the laws of the symbolic order, a process that is necessary for the creation of subjective identity. See Anthony Easthope and Kate McGowan (eds), A Critical and Cultural Theory Reader, 68.

8. Such a transcendental concept of subjectivity has been rejected by Freudian and post-Freudian theories, which basically consider the self to be a divided subject who is decentred by language and whose identity is a construct affected by historical and social forces.

9. The ‘Burgtheater’ in Vienna is Austria’s National Theatre – generally consid-ered to be a place of ‘high culture’.

10. By addressing the question of the hysteric Žižek reflects on the opposition between perversion and hysteria in contemporary society, lamenting the loss of hysteria in the postmodern economy of the ‘polymorphously perverse subject [who] follow[s] the superego injunction to enjoy’ (The Ticklish Subject 248) The subject of late capitalism is ‘perverse’ – s/he is engaged in processes of shaping and reshaping identities, playing with roles, immersing oneself into the other, transgressing the borders between self and other, subverting

Notes 187

distance and difference. Žižek argues that the virtual realities of cyberspace provide the perverse subject with opportunities for games with identity. The hysterical position, on the other hand, is one of extreme and painful tension; it is the tension and contradiction experienced by a subject who is troubled by his/her position in the symbolic order, which is an order deter-mined by a dynamic of power and control. The hysterical self (the speaking subject) is engaged in a dialogue with the system, and this dialogue is frus-trating because the subject cannot accept the place ascribed to her by the system. The subject – even though she asks for an answer – is never content with the answer and cannot be content with it because the answer to the question of the hysteric (who am I? You are what I say you are!) is a reifying answer. The answer turns the self into an object and thus threatens to erase her. This is the dilemma of the hysteric.

The hysterical (unlike the perverse) subject does not ‘follow the superego injunction to enjoy’, she does not play the game of the culture industry and refuses to laugh. Barker rejects the notion of theatre as entertainment. His theatre of tragedy or catastrophe refuses to find consolation in ‘society’s obsession with comfort/the political obsession with the elimination of pain/the popular pursuit of pleasure’ (Arguments for a Theatre 128).

11. This paradoxical sense of choosing death or inviting death on oneself in situations of impending catastrophe is typical for many Barker characters. Dancer in Hated Nightfall suffers the contradictions of history with a heroic sense of self-sacrifice driven by an excess of imagination. When he is finally ready to receive the gift of death he is afraid that ‘death even . . . will be poorer than my imagination predicted’ (Barker, Hated Nightfall 47).

12. Seduction has been identified as a key force in Barker’s work. Characters’ language and movements gain a seductive and transgressive quality, but cru-cially they are concerned with maintaining the distance between themselves and their love object, which is necessary for the continuation of the flow of desire – the life-giving energy which catapults many of them into death. (See Lamb, Howard Barker’s Theatre of Seduction.)

5 Sarah Kane or how to ‘scrape a life out of the ruins’

1. Sarah Kane quoted in Aleks Sierz, In-Yer-Face Theatre: British Drama Today 106. 2. Adorno’s concept of mimesis does already imply an element of rationality

because it is through mimetic behaviour that the individual dissociates her-self from the danger of the mythic world. Mimetic behaviour thus entails the naming, structuring and controlling of alien nature. It is a way of grasp-ing the unknown by assimilating it and thus making it less terrifying and dangerous.

3. For a comprehensive discussion of Adorno’s analysis of artistic developments in the 1950s and 1960s and a consideration of what is referred to as Adorno’s ‘perspectives on an interdisciplinary aesthetic’ see Christine Eichel, Vom Ermatten der Avantgarde zur Vernetzung der Künste. Perspektiven einer interdiszi-plinären Ästhetik im Spätwerk Theodor W. Adornos.

4. Examples of epic elements, for example, are the representational, demonstra-tive function of plot in Hauptmann’s social drama, or the introduction of the

188 Notes

authorial I and epic narrator who intensify the spectator’s sense of distance from dramatic action and draw attention to the world beyond the spectacle.

5. Aleks Sierz defines this sensibility and new way of dramatic writing as ‘in-yer-face theatre’ and many other critics, among them established writers such as Pinter and Bond, have recognised Kane’s talent and praised her work as ground-breaking and radical. The critical consensus seems to be that the media outrage surrounding her first play (Blasted) was utterly unjustified, hysterical and an expression of the fundamental conservatism and materialist/utilitarian ideology underpinning contemporary cultural discourse.

6. Kane’s classical sensibility is evidenced by the Shakespearean resonances in Blasted and more directly her rewriting of Seneca’s Phaedra myth in Phaedra’s Love. There are biblical references in Cleansed and Crave, and an influence of T. S. Eliot’s poem Waste Land on 4.48 Psychosis can be noted.

7. Crave is published in Sarah Kane: Complete Plays. Hereafter page references to Kane’s plays are provided in brackets in the main text.

8. Lacan’s theory of subjectivity is based on the notion that the unconscious is structured like a language; hence the subject is defined as ‘the effect of the signifier’ (Lacan, Seminar, Book XI 207).

9. At this stage it is interesting to note the economy of violence which is played out in the construction of the subject. Adorno’s theory of the subject as implicated in processes of domination (of the other and the self) also thinks of subject construction in terms of violence, as has been discussed above in the context of his theory of the dialectic of enlightenment.

10. In Écrits (1966) Lacan maintains that the condition of subject formation (the subject’s appearance as an object) is a ‘moment of a “fading” or eclipse of the subject that is closely bound up with the Spaltung or splitting that it suf-fers from its subordination to the signifier’ (347).

Epilogue: Adorno, Tragedy and Theatre as Negation

1. Adorno is mentioned in these studies mainly with reference to his theory of the enlightenment and, in the case of Wallace, as an original interpreter of Beckett.

2. Antigone was for Hegel the most perfect aesthetic embodiment of tragic con-flict, due to the fact that the heroine is torn between her duty to her family and to the law of the State. Hegel refers to it in order to support his view that tragedy consists of the clash or collision of two substantial, and equally justi-fied, positions or ‘goods’. See: Paolucci, Hegel on Tragedy 368.

3. Adorno notes that all art in modern consumer society is subject to the pres-sures of commodification and reification; in other words, there is no art today that can fully exist outside the culture industry. He does, however, focus on art forms which have the capacity to resist these tendencies (Beckett’s work is a primary example). For fuller discussion of Adorno’s analysis of the culture industry see Deborah Cook, The Culture Industry Revisited: Theodor W. Adorno on Mass Culture.

4. ‘The tragic myth, in so far as it belongs to art at all, also participates fully in art’s metaphysical intention to transfigure’ (Nietzsche, The Birth of Tragedy 127).

Notes 189

5. That tragedy has the power to awaken the individual has also been suggested by Jean-Marie Domenach in Le Retour du Tragique (1967). Inspired by exis-tentialist thought, he contrasts the individual in ‘les temps nouveaux’ with the ‘homme tragique’ who ‘is a separate being who refuses the world’ (‘est un être séparé, qui refuse le monde’ 285), (translation KG). Domenach’s critique of modern bureaucratised culture shares much of Adorno’s sensibility.

6. According to Nietzsche, the rationalism of modern life is designed in support of ‘the weak’ and is therefore ‘decadent’. See: The Birth of Tragedy (1872).

190

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199

Index

absurd, 32, 92, 107absurdist, 43, n184theatre of the absurd, 57, 109

administered world, 4, 5, 23, 36, 7, 44, 161

Adorno, Theodor W.‘The Actuality of Philosophy’, 20,

21, n183‘Art and the Arts’, 148, 149, 152,

153, n183 ‘Commitment’, 65Dialectic of Enlightenment (with Max

Horkheimer), 1, 8, 19, 36, 47, 72, 93, 103, 108, 117, 153, 175, 176–77, n182, n186

‘Kulturkritik und Gesellschaft’, 3, 36, n183

Minima Moralia: Refl ections from Damaged Life, 5, 6, 9, 15, 42, 46, 47, 48, 87, 113, 119, 134, 141, 144, 162, 167, 176, 179, 181

Negative Dialectics, 1, 4, 5, 6, 13, 15, 18, 35, 36, 110, 111, 130, 165, 166, 179, n182

‘Trying to Understand Endgame’, 2, 20, 24, 25, 32, 34, 35, 40, 42, 43, 84, 106, 142

aestheticaesthetic appearance, 25, 26, 29,

84, 180aesthetic comportment, 17, 21aesthetic experience, 3, 4, 8, 15, 20,

21, 23, 38, 49, 116, 173aesthetic form, 17, 19, 20, 25, 32, 33,

36, 37, 39, 44, 65, 82, 106, 146, 148, 152, 161, 162, 164, 178

aesthetic process, 30, 50, 60aesthetics of resistance, 46, 79,

80, 81de-aestheticisation [Entkunstung],

32, 33, 150, n184affect, 142

Agamben, Giorgio, 2, 100, 137, n182alienation, 8, 14, 25, 43, 61, 67, 70,

78, 79, 81, 117, 147, 156–9, 172–3, 176

alterity, 6, 8, 10, 137, 142, 147antagonism, 36, 51, 5, 121, 144, 148,

166, 167, 169aporia, 2, 6, 15, 35, 36apparatus, 4, 36, 62, 64, 154, 175appearance

aesthetic appearance, 25, 26, 29, 84, 180

sensuous appearance, 26see also illusionsee also semblance

archaic, 67, 127, 130, 134, 164Arendt, Hannah, 8, n182Aristotle, 116, 165, 174, 175, 179aura, 30, 62, 63, 112Auschwitz, 1–23, 34, 47, 82–4, 100,

117, 131, 138, 164, 165, 174–6, n182, n183

post-Auschwitz, 1–3, 5–6, 13, 15–16, 18, 24, 45, 56, 85, 86, 110, 113, 134, 144, 178, 179

authentic, 20, 37, 51, 100, 104, 106, 111, 137, 157, 168, 176, 178

authentic art, 12, 14, 22, 27, 34, 109, 112, 169, 177, n183

autonomy, 3, 15, 16, 17, 25, 30, 31, 32, 36, 40, 49, 50, 63, 65, 89, 104, 112, 113, 114, 150, 166, 175

autonomous art, 20, 30, 31, 57, 82, 148

avant-garde, 2, 7, 8, 19, 29, 36, 108, 109, 147, 148, 149, 150, n184

historical avant-garde, 32, 35, 148, 150

Baudrillard, Jean, 9–10, 15barbarism, 1, 7, 35, 47, 57, 110, 127,

131, 172, 175

200 Index

Barker, HowardArguments for a Theatre, 18, 114,

115, 116, 138, 143, 154, n187Bite of the Night, 107, 127, 131, Death, The One and the Art of

Theatre, 142, 144The Europeans, 141Found in the Ground, 107, 131–3Gertrude: The Cry, 138–41Hated Nightfall, n187I Saw Myself, 142–3Knowledge and a Girl, 138, 139–41The Power of the Dog, 119–26Rome, 107Terrible Mouth, 118–9theatre of catastrophe, 106,

115–17, 126, 138, 142, 143, 144, n186

beauty, 26, 28, 55, 98, 115, 128, 129, 141, 163

natural beauty, 28, 163Beckett, Samuel

Disjecta, 38–45Dream of Fair to Middling Women,

40–2Endgame, 24, 25, 32–5, 40–3, 107,

142, 155Not I, 24Three Dialogues, 40, 44Waiting for Godot, 35, 41

Being, concept of, 110, 111, 160, being-in-itself, 4, 30, 32

Benjamin, Walter, 20, 52, 62, 63, 66, 78, 146, 166, 174

Blanchot, Maurice, 8, 142body, 6, 16, 18, 22, 33, 54–5, 64, 92,

93, 98, 118–19, 120, 128, 129, 130, 131, 134, 137, 139, 140, 141, 152, 159, 161, 163–4, 166, 179, n185

embodiment, 17, 25, 31, 102, 123, 125, 130, n188

Bond, EdwardAt The Inland Sea, 79, 83, 84, n184Black Mass, 70The Bundle, 56, 72, 75–7Coffee, 52, 53, 56, 81, 83, n184Human Cannon, 50, 56, 72–5Lear, 50, 52–6

‘Notes on Post-Modernism’, 57, 70, 72, 79, n184

rational theatre, 57, 66, 85, 154Saved, 50, 51, 52, n184Stone, 70Theatre Event (TE), 78, 79The War Plays, 50, 56, 66, 70, 72, 77The Woman, n184

Booth, Stephen, 37, 130Brecht, Bertolt, 36, 57, 59–60, 61–5,

78, 79, 80, 164, 171, n184Epic Theatre, 53, 59, 60, 63, 64, 78,

151, 171Burke, Edmund, 141–2

capitalism, 12, 14, 22, 35, 36, 57, 61, 64, 72, 93, 108, 121,

late capitalism, 14, 20, 29, 30, 34, 164, 170, 176, n186

Carson, Anne, 140–1catastrophe, 2, 6, 24, 25, 34, 35, 41,

68, 84, 100, 117, 119, 127, 131, 132, 135, 136, 142, 162, 164, 165, 169, 170, 172–6, 178, n187

see also Auschwitztheatre of catastrophe, 106, 115–17,

126, 138, 142, 143, 144, n186character

commodity character, 63, 82double character of art, 112, 148dramatic character, 56, 65, 70, 83,

106, 107, 138, 142enigmatic character, 7semblance character, 29, 33, 49,

149, 180comedy, comic, 25, 124, 166, 177 commitment, 3, 19, 25, 65, 66, 85

committed art, 18, 65commodity, 10, 30, 31, 58, 59, 63, 64,

109, 110 commodity character, 63, 82commodity culture, 12, 14, 32, 59commodity form, 30, 63commodification, 1–2, 17, 30–1, 34,

36, 63, 64, 108, 112, 164, n188communication, 12, 32, 44, 63, 67,

70, 106, 147 non-communication, 37

comportment, aesthetic, 17, 21

Index 201

configuration, 20, 21, 25, 27, 41, 57, 64

constellation, 20, 27, 29, 33, 41, 81, 150

construction, 9, 14, 16, 25, 27, 30, 32, 61, 64, 76, 78, 100, 117, 144, 150, 156, 157, 168, n188

consumerist, 18, 108, 109, 112consumer society, 10, 30, 31, 34,

70, 72, 82, 114, n188content

truth content, 35, 106, 178sedimented content, 82, 148see also form–content dialectic

contradiction, 6, 9, 13, 16, 18, 25, 35, 36, 57, 65, 111, 112, 121, 122, 149, 165, 166, 167, 169, 172, n187

corporeality, 163see also materiality

crisis crisis of art, 31crisis of drama, 146–7, 151 crisis of meaning, 1crisis of Schein (semblance), 24,

30, 152critique, immanent, 17culture

culture industry, 1–4, 10, 15, 17, 18, 30–2, 34, 36, 63, 108, 109, 110, 113, 114, 164, 168, 170, 173, 176, 178, 179, n182, n183, n186, n187, n188

post-Auschwitz culture, 1, 2, 5, 6, 13, 15, 24, 56, 179

damagedamaged subjectivity, 3, 5, 24,

97, 164damaged world, 43, 142, 173

de-aestheticisation [Entkunstung], see aesthetic

Deleuze, Gilles, 14, 180Derrida, Jacques, 8, 10, 11, 12,

107, 138dialectics

negative dialectics, 12, 13, 30, 162, 165, 166, 167, 181

dialectical thinking, 2, 6, 13, 14, 162

see also Adorno, Dialectic of Enlightenment

see also Adorno, Negative Dialecticsdisintegration, 30, 31, 42, 54, 82, 97,

158, 161, 175, 176, 179logic of disintegration, 31

dissonance, 29, 42, 168, 169drama (dramatic)

dramatic character, 56, 65, 70, 83, 106, 107, 138, 142

dramatic form, 32, 33, 43, 49, 51, 82, 146, 152, 154, 155, 159, 161, 164, 165, 180

dramatic text, 6, 18, 22, 48, 89, 105see also postdramatic

Eagleton, Terry, 6, 15, 16, 24, 25, 122, 171, 172, n185

ego, the, 5, 16, 21, 32, 41, 48, 90, 131emancipation, 15, 19, 28, 47, 87, 89,

117, 150empiricism, 3empirical reality, 7, 17, 26, 29, 37, 49,

50, 78, 82, 104, 114, 145, 146–8, 150, 161, 180, n183

enigma (enigmatic), 3, 89, 112, 124, 140, 144, 170

enigmatic character [Rätselcharacter], 7see also riddle

enlightenmentenlightenment rationality, 7,

19, 21, 46, 98, 103, 117, 118, 126, 176

see also Adorno, Dialectic of Enlightenment

ephemerality (ephemeral), 11, 20, 28see also transient

epistemology, 8, 57, 58eros, erotic, 90, 138, 139, 140,

141, 142 essence, 19, 33, 39, 62, 65, 124, 146ethics, 8, 88, 109, 167, n182

see also moralityevent, (philosophy), 11–12, 15, 35,

161, 162, n182absolute event, 10event of Auschwitz, 2, 9, 12, 14catastrophic event, 2, 6, 35dramatic event, 177

202 Index

existencehuman existence, 8, 24, 43, 48, 88,

93, 170individual existence, 5mere existence, 178, 181

experience historical experience, 1, 4individual experience, 5, 13, 25,

104, 113, 143, 164subjective experience, 17, 19, 26,

28, 43, 58, 64, 86, 173expression

aesthetic expression, 13, 21, 147anti-expressive, 14, 45expressionism, 4, 7, 147expressive-mimetic, 102, 168individual expression, 10, 28, 46new expressionist drama, 22, 100,

104, 106

fantasy, 91, 163exact fantasy, 20

fascism, fascist, 10, 113, 124fetish, 14, 30, 36, 65, 77, 119, n184

fetish character, 30film apparatus, 62, 64form

aesthetic form, 17, 19, 20, 25, 32, 33, 36, 37, 39, 44, 65, 82, 106, 146, 148, 152, 161, 162, 164, 178

artistic form, 31, 38formalism, 36, 112formlessness, 32, 33, 101, 103,

160, 168form–content dialectic, 146

Foucault, Michel, 8, 11, 97Frankfurt School, 1, 10, 105, 113freedom

subjective freedom, 16, 67, 70, 87, 113, 126, 166, 177, 181

unfreedom (lack of freedom), 22, 69Freud, Sigmund, 19, 60, 87, 88, 89,

90, n185

gaze, 143genre, 148–9, 150, 151, 153, 166, 177gesture

aesthetic gesture, 168theatrical gesture, 22, 151

Goya, Francisco de, 117–19, 133, n186guilt, 5, 7, 50, 111, 158

guilt context (nexus of guilt), 5, 7, 111, 178

Hammer, Espen, 34–5, 37Handke, Peter, 151happenings, 33, 114, 148, 149happiness, 3, 5, 33, 34, 54, 88, 106

promise of happiness, 17, 179Hegel, Georg Wilhelm Friedrich, 8–9,

13, 21, 22, 26–8, 30, 35, 58, 120, 143, 149, 165, 166–7, 174, 175, 178, 180, n188

Heidegger, Martin, 36, 110, 174history

anti-history, 119, 120 historical experience, 1, 4‘our history’ (Nancy), 9, 11

Hitler, Adolf, 135–6Hölderlin, Friedrich, 24, 143, 166, 180Holocaust, 1, 3, 6, 9, 14–15, 34, 66,

84, 132, 136, 137, n182, n185hope, 5, 17, 41, 44, 68, 75, 91, 95, 96,

107, 111, 119, 130, 132Horkheimer, Max, 1, 8, 19, 72, 88,

93, 105, 113, 117, 166, 175, 176, n182, n183

humanism, 9, 51, 52, 70, 72, 90, 132, 133, 135

liberal humanism, 154Hullot-Kentor, Robert, 32

idealism, 20, 21, 26, 27, 28, 98, 99, 118, 125, 177, n183

German idealism, 8, 28, 165, 174, 180

identityidentity thinking, 9, 11, 17, 40,

166, 176non-identity, 3, 11, 13, 15, 21, 22,

23, 37, 87, 125, 142, 156, 165, 178self-identity, 4, 16, 48social identity, 80

ideology Enlightenment ideology, 89, 94Ideology of the Aesthetic (Eagleton),

6, 15, 16, n185political ideology, 63, 122, 123, 124

Index 203

illusion, 26, 28, 29, 30, 32, 33, 40, 42, 43, 60, 65, 67, 73, 78, 98, 107, 110, 111, 113, 127, 131, 143, 151, 152, 155, 157, 158, 169, 176, n183, n185

see also appearancesee also semblance

imitation, 3, 28, 140 see also mimesis

image self-image, 5, 123stage image, 69, 132visual image, 84, 153

imagination, 6, 49, 56, 57, 61, 64, 68, 71, 79, 83, 84, 95, 103, 118, 124, 128, 135, 144, 152, 160, 176, 179, 181, n183, n184, n187

immanence, 5, 143, 173, 176, 179, 180

immanent critique, 17immanent form, 106, 146

immaterial, 63, 180impossibility, 4, 5, 12, 21, 34, 42,

44, 45, 108, 111, 123, 124, 129, 130, 136, 140, 178, 181, 182, n183

impossibility of poetry, n183see also possibility

indeterminacy, 112instrumentalisation, 3, 4, 13, 105,

n186instrumentalised rationality, 125

irrationality, 50, 57, 81, 89, 100, 103, 117, 118, 124, 126, 128, 134, 144, 154, 168, n184

Jameson, Fredric, 2, 4, 29, 70, 117Joyce, James, 38–9, n183

Kafka, Franz, 8, 109Kane, Sarah

Blasted, 153, 154, 155, 161, n188Cleansed, 154, n188Crave, 154–5, 157–8, n1884.48 Psychosis, 154, 155, 158–9,

161, n188Kant, Immanuel, 26, 58, 141, 165,

180, n183Kierkegaard, Søren, 165

knowledgeknowledge and desire, 126,

128, 140knowledge production, 58, 59,

60, 126self-knowledge, 48, 56, 60, 177theory of knowledge, 58transgressive knowledge, 52

Kristeva, Julia, 94, 129, 130

Lacan, Jacques, 55, 123, 129, 156–7, 159, 168, n186, n188

language dramatic language, 67, 104,

105, 136poetic language, 115, 119,

129, 132Lehmann, Hans-Thies, 151–2liberalism, 93, 109Lukács, Georg, 10, 36, 59, 70,

78, 80, 82, 146, 164, 171, 179, n182

Lyotard, Jean-François, 6–7, 8, 10, 11, 12, 14, 15, 18, 126, 162, n182, n186

magic, 5, 47, 91, 100Marcuse, Herbert, 113, n182, n186Marx, Karl, 58–9, 60, 65, 172, n184

Marxist theory, 57, 58, 64mastery, 14, 94, 97, 98, 117, 124, 136materialism, 20, 27, 36, 46, 58, 65,

n182materialist aesthetics, 78, 122, 146,

n185materialist philosophy, 27, 59

materiality, 16, 27, 60, 64, 78, 130, 150, 180, 181

meaningaesthetic meaning, 30, 149crisis of meaning, 1 meaningless, 3, 19, 23, 32, 41, 43,

57, 81, 106, 127, 132, 135, 142, 144, 174

metaphysical meaning, 32, 40, 177memory, 6, 69, 132, 156, 158

remembrance (anamnesis), 6, 8, 10, 11, 18, 117, 177, 178

messianic light/order, 42

204 Index

metaphysics, 5, 6, 8, 15, 22, 27, 36, 40, 110, 174, 179, n182

post-metaphysical, 15, 26, 100, 110, 174, 178

see also philosophymicrology, 15mimesis, 3, 4, 41, 59, 96, 144, 146,

148, 162, 167, 168, n187see also imitation

mimeticmimetic behaviour, 102, n187mimetic element, 148mimetic impulse, 3, 4, 17, 102see also mimesis

modernism, 8, 14, 28, 30, 31, 42, 105, 146, 152, 177

modernity, 9, 21, 58, 61, 64, 66, 130, 147, 151, 164, 166, 169, 172, 173, 174, 175, 176, 177

monad, 30, 104, 109, 161morality, 19, 38, 89, 115, 116, 143, 176

see also ethicsmore, concept of, 7, 28, 119, 163, 180music, 8, 11, 29, 36, 40, 41, 42, 50,

108, 109, 116, 108, 122, 123, 132, 133, 146, 148, 149, 151, 155, 158, 159, 165, 168, 169, n183

myth, 5, 15, 19, 34, 38, 47, 52, 86, 87, 89, 91–4, 96, 100, 101, 103, 114, 126, 131, 168, 176, 177, nn184, n185, n188

Nancy, Jean-Luc, 9, 11, 143, 173, 180nature, dominated, 3, 92, 177Nazism, 7, 113, 132, 133, 135

see also Hitler, Adolfnegation, determinate, 17, 19, 30, 31,

33, 37, 156Nietzsche, Friedrich, 88, 101, 102,

103, 104, 118, 131, 165, 168–9, 175, 178, n188, n189

nominalism, 25, 26, 29, 30, 32, n183nominalist critique, 29

non-conceptual, 3, 6, 8, 20, 143non-identity see identity

objectprimacy of the object, 17, 28subject–object binary, 58, 165

objectification, 3, 17, 30, 49, 64, 70, 81Odysseus, 19, 176Other, the, 119, 120, 125, 137, 156,

157, 160, 166, 181

participation, 37, 115non-participation, 37

particular, the, 8, 9, 15, 25, 29, 32, 39, 110, 125, n183

particularity, 21, 23, 28, 29, 32, 39, 167

performance, 5, 48, 108, 115, 131, 138, 144, 158

performance art, 33, 37, 114performative, 23, 31, 38, 70phenomenon, 32, 51, 70, 150, n183philosophy

idealist philosophy, 58, 174materialist philosophy, 27, 59philosophy and art, 1, 13see also Adorno, ‘The Actuality of

Philosophy’see also metaphysics

Plato, 96, 174, 179playwright, 73, 153, 154poetry (after Auschwitz), 3, 4, 34,

n182, n183poetic drama (use of language), 105,

115, 119, 129, 132, 136, 142, 144, 151, 152, 155, 158

popular, 109, 110, 116, n187possibility

possibility of the impossible, 7, 42, 144, 156

see also impossibilitypostdramatic, 150–2

postdramatic theatre, 148, 151–2, 161

postmodernism, 63, 70, n182, n186postmodernity, 72, 151, 164, n184

practiceartistic practice, 1conceptual practice, 10

praxis, 58, 59, 64, 121presence (appearance), 156process, aesthetic, 30, 50, 60promise of happiness, 17, 179

see also happinesspsychoanalysis, 156, 159

Index 205

Rabey, David Ian, 86, 89, 106, n184, n185, n186

Rancière, Jacques, 85, 115rationality

enlightenment rationality, 7, 19, 21, 176

irrationality, 50, 57, 81, 89, 100, 103, 117, 118, 124, 126, 128, 134, 144, 154, 168, n184

realismanti-realist, 131realist, 49, 51, 61, 82, 118, 131,

146, 152social realism, 32, 36, 112socialist realism, 109, 122, 124,

n182reality

empirical reality, 7, 17, 26, 29, 37, 49, 50, 78, 82, 104, 114, 145, 146–8, 150, 161, 180, n183

social reality, 19, 25, 49, 50, 81, 82, 106, 109, 167

reasonautonomous reason, 8, 21instrumental reason, 11, n186subjective reason, 26, 166, 168totalising reason, 176

Rebellato, Dan, 154reconciliation

false reconciliation, 63, 178forced reconciliation, 18, 36, 169

redemption, 5, 20, 29, 42, 50, 87, 91, 95, 111, 144, 163, 170, 172, 180

reification, 3, 4, 7, 8, 10, 13, 17, 18, 27, 30, 31, 35, 36, 63, 64, 70, 87, 147, 147, 150, 162, 164, 166, 172, 173, 176, n188

representation, mimetic, 60, 105resistance,1, 5, 12, 17, 22, 24, 31, 36,

39, 44, 113, 120aesthetics of resistance, 46–85see also Weiss, Peter

riddle, 16, 20, 85, 96, 137, 137, 160, 162, 177

see also enigmaRudkin, David

Afore Night Come, 86Penda’s Fen, 87Red Sun, 86, 100, 103, 104

The Saxon Shore, 86, 96–9Sons of Light, 86, 94–6The Triumph of Death, 86, 87–93

sacrifice, 19, 77, 91, 107, 158, 173, 176, n185, n187

Sartre, Jean-Paul, 36, 65, 70, 142, 174, n184

Saunders, Graham, 154, 155, 161, 162

Schelling, Friedrich Wilhelm Joseph, 165, 166

Schönberg, Arnold, 8, 109self

damaged self, 164self-destruction, 48, 92, 176, 177self-formation, 16, 86, 89, 129,

n186, n188selfhood, 25, 98, 160, 175, 179self-realisation, 81, 89, 104, 172 see also subject

semblance [Schein]semblance character, 29, 33, 49,

149, 180crisis of semblance, 152non-semblance, 163see also aesthetic appearancesee also illusion

sensation, 15, 119Shakespeare, William, 38, 138, 139,

154, n188shock, 2, 24, 52, 54, 55, 109, 117,

170, 174, 175shudder, 15, 21, 22, 23

see also affectSierz, Alex, 153, n187, n188Simmel, Georg, 172singularity, 10, 101, 138, 144, 173,

181Sohn-Rethel, Alfred, 59somatic, 4, 6, 9, 99, 126, 138, 163,

163, 166, n183, n185spectator, 60, 61, 87, 115, 116, 136,

144, 157, 162, n188spirit [Geist], 8, 21, 25, 143, 180

absolute spirit, 27spirit of capitalism, 164spiritualisation, 5, 28, 33, 149

style, 38, 39, 52, 53

206 Index

subjectsubjective experience, 17, 19, 26,

28, 43, 58, 64, 86, 173subject/object dualism, 58, 165see also self

sublime, 15, 130, 141–2, 177, n186suffering, human, 1, 4, 15, 69, 138,

149, 172surrealism, surrealist, 29, 80, 142, 174

neo-surrealist, 108, 114Szondi, Peter, 146–7, 151, 165, 178

technique, 25, 59, 61, 66, 72, 78, 79, 86, 105, 111, 150, 174, 180

technology, 4, 52, 62, 66, 74temporality, 11, 100text

see dramatic texttheatre

epic theatre, 53, 59, 60, 63, 64, 78, 151, 171

in-yer-face theatre, 153, n187, n188

theatricality, 87theatre of catastrophe (see also

Barker, Howard), 106, 115–7, 126, 138, 142, 143, 144, n186

theology, 14theory

aesthetic theory see Adornocritical theory, 2, 10, 12, 35, 36, 58,

62, 113, 164, 176, n184

time, historical, 33totality, social, 3, 12, 16, 17, 20, 37,

57, 66, 70, 82, 122, 144, 169tragedy, 14, 25, 43, 101, 115, 116,

125, 130, 144, 154, 163–81tragic-comic, 24

transcendence, 1, 28, 94, 120, 144, 174, 178, 179, n183

transient, 11, 20see also ephemerality

trauma, traumatic, 12, 67, 68, 168truth

false truth, 113truth content, 35, 106, 178

universal, the, 5, 9, 30, 39, 111utopia, 66, 72, 178

negative utopia, 31, 66

violencearchaic violence, 134human violence, 18reality of violence, 51social violence, 49, 50

visual arts, 148, 149, 165Weiss, Peter, 79–82, n185

see also aesthetics of resistance

Zapf, Hubert, 8Žižek, Slavoj, 121, 137, 168, 170,

n186–7Zuidervaart, Lambert, 17