Rhythmic juggling: Tracing the disembodied voice of Richard Foreman's Ontological-Hysteric productions, 1968--2009
Item
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Title
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Rhythmic juggling: Tracing the disembodied voice of Richard Foreman's Ontological-Hysteric productions, 1968--2009
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Identifier
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d_2009_2013:b4ba8560858c:11299
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identifier
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11776
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Creator
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Coleman, Patricia,
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Contributor
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David Savran
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Date
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2012
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Language
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English
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Publisher
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City University of New York.
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Subject
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Theater | Theater history | Avant-Garde Theatre | Disembodied Voice | Hysteria | Ontological-Hysteric Theater | Richard Foreman | Tape Experiments
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Abstract
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This dissertation is concerned with the genealogies of the disembodied voice in Richard Foreman's Ontological Hysteric Theater. Each of the first three chapters posits a genealogy in which the disembodied voice is elaborated: first by the discovery of the unconscious, the historical avant-gardes, and finally by the neo-avant-gardes that return to the disembodied voice as a device with a difference, through technology and theorization. The final chapter demonstrates that these genealogies are essential to an understanding of Foreman's uses of the disembodied voice. The final chapter divides Foreman's Ontological-Hysteric productions into four sections, which trace the particular uses of disembodied voice of each period. Each section demonstrates how the disembodied voice gives form to Foreman's intellectual and aesthetic preoccupations. The disembodied voice allows Foreman to position himself as a literary critic with his own works of art as the object of his criticism and to "echo" the abyss that is left by the voice's retreat from the body.
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Type
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dissertation
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Source
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2009_2013.csv
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degree
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Ph.D.
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Program
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Theatre
