Martin Puchner | Harvard University (original) (raw)
Papers by Martin Puchner
Sala Preta, 2013
Stage Fright 2 (1950) de Alfred Hitchcock é o mistério de um assassinato ambientado no submundo 3... more Stage Fright 2 (1950) de Alfred Hitchcock é o mistério de um assassinato ambientado no submundo 3 do teatro. Marlene Dietrich interpreta uma diva cujo luto pelo marido assassinado é tão obviamente teatral que ela se torna imediatamente a suspeita número um do filme. Ela é seguida por uma jovem estudante de artes dramáticas, que prepara uma armadilha para revelar sua culpa. Esperando avidamente pela exposição da diva, a audiência caminha em direção a outro tipo de armadilha, atraídos pelo inteligente contraste entre a atriz imoral, em quem não podemos confiar, pois a atuação se tornou sua segunda natureza, e a novata, em quem podemos confiar por sua inexperiência de palco. O assassino, porém, não é a diva, mas um psicopata que já havia matado antes. Observa-se que o pânico de palco 4 a que o filme de Hitchcock se refere não é o medo do ator diante da plateia, mas o medo do ator por parte da plateia. 5
Theatre Research International, 2004
This article examines the work of the Situationists and their leading member, Guy Debord, as it r... more This article examines the work of the Situationists and their leading member, Guy Debord, as it relates to theatre history and the history of the manifesto. The Situationists privileged the writing of manifestos over the production of art works in order to avoid the fate of the historical avant-garde, whose provocative art had been co-opted by the cultural establishment. Despite this pro-manifesto and anti-art stance, the Situationists drew on the theatre, envisioning the construction of theatrical ‘situations’ influenced by the emerging New York happening as well as modern theatre artists such as Brecht and Artaud. This theatrical inheritance prompted a recent theatrical representation of their activities based on Greil Marcus's Lipstick Traces. What this theatrical rendering demonstrated, however, is that the theatricality of the ‘situation’ is different from that produced on a stage, reminding us that the strategies of the neo-avant-garde cannot be easily transferred to a tra...
The Germanic Review: Literature, Culture, Theory, 2003
Page 1. THE GERMANIC REVIEW Kafka' s Antitheatrical Gestures MARTIN PUCHNER o writer seems l... more Page 1. THE GERMANIC REVIEW Kafka' s Antitheatrical Gestures MARTIN PUCHNER o writer seems less made for the theater than Franz Kafka, withdrawn in his N study, as we picture him, obsessively writing to keep everything safely away. ...
The Yale Journal of Criticism, 2005
Theatre Journal, 2002
... The paradox of Artaud's dependence on the literary genre of the manifesto thus must be u... more ... The paradox of Artaud's dependence on the literary genre of the manifesto thus must be understood as one more version of the struggle between performativity and theatricality at work in the manifesto at least since the Communist Manifesto. ...
New Literary History, 2002
... the theater. The two are intertwined enterprises, which therefore must be approached by way o... more ... the theater. The two are intertwined enterprises, which therefore must be approached by way of a double path: Plato/Greek Tragedy; Deleuze/Artaud; Nietzsche/Wagner; Derrida/Mallarmé; Benjamin/Trauerspiel. Each of these ...
Theatre Research International, 2009
... the thesis that 'All theatre is theatre of ideas'.33 Badiou here does not mean that... more ... the thesis that 'All theatre is theatre of ideas'.33 Badiou here does not mean that theatre ... audience can see and experience itself as audience rather than disappear, as it does in film ... of life was recognized by Alexander Nehamas in his book The Art of Living: Socratic Reflections ...
Neohelicon
Based on the author’s work as general editor of the Norton Anthology of World Literature, the ess... more Based on the author’s work as general editor of the Norton Anthology of World Literature, the essay develops an approach to world literature centered on world creation. The creation of literary worlds can be understood within the framework of possible worlds theory as developed by Thomas Pavel, Lubomir Dolezel and others. Taking its point of departure from possible worlds theory, the essay then focuses on specific genres that foreground the capacity of literature to create whole worlds, including world creation myths and science fiction. Three terms are used to analyze this body of literature: reference; scale; and model. While the category of reference accounts for the status of the worlds to be found within literary works, scale and model capture the particular challenges world creation literature faces.
New Literary History, 2010
New Literary History, 2010
New Literary History, 2010
Sala Preta, 2013
Stage Fright 2 (1950) de Alfred Hitchcock é o mistério de um assassinato ambientado no submundo 3... more Stage Fright 2 (1950) de Alfred Hitchcock é o mistério de um assassinato ambientado no submundo 3 do teatro. Marlene Dietrich interpreta uma diva cujo luto pelo marido assassinado é tão obviamente teatral que ela se torna imediatamente a suspeita número um do filme. Ela é seguida por uma jovem estudante de artes dramáticas, que prepara uma armadilha para revelar sua culpa. Esperando avidamente pela exposição da diva, a audiência caminha em direção a outro tipo de armadilha, atraídos pelo inteligente contraste entre a atriz imoral, em quem não podemos confiar, pois a atuação se tornou sua segunda natureza, e a novata, em quem podemos confiar por sua inexperiência de palco. O assassino, porém, não é a diva, mas um psicopata que já havia matado antes. Observa-se que o pânico de palco 4 a que o filme de Hitchcock se refere não é o medo do ator diante da plateia, mas o medo do ator por parte da plateia. 5
Theatre Research International, 2004
This article examines the work of the Situationists and their leading member, Guy Debord, as it r... more This article examines the work of the Situationists and their leading member, Guy Debord, as it relates to theatre history and the history of the manifesto. The Situationists privileged the writing of manifestos over the production of art works in order to avoid the fate of the historical avant-garde, whose provocative art had been co-opted by the cultural establishment. Despite this pro-manifesto and anti-art stance, the Situationists drew on the theatre, envisioning the construction of theatrical ‘situations’ influenced by the emerging New York happening as well as modern theatre artists such as Brecht and Artaud. This theatrical inheritance prompted a recent theatrical representation of their activities based on Greil Marcus's Lipstick Traces. What this theatrical rendering demonstrated, however, is that the theatricality of the ‘situation’ is different from that produced on a stage, reminding us that the strategies of the neo-avant-garde cannot be easily transferred to a tra...
The Germanic Review: Literature, Culture, Theory, 2003
Page 1. THE GERMANIC REVIEW Kafka' s Antitheatrical Gestures MARTIN PUCHNER o writer seems l... more Page 1. THE GERMANIC REVIEW Kafka' s Antitheatrical Gestures MARTIN PUCHNER o writer seems less made for the theater than Franz Kafka, withdrawn in his N study, as we picture him, obsessively writing to keep everything safely away. ...
The Yale Journal of Criticism, 2005
Theatre Journal, 2002
... The paradox of Artaud's dependence on the literary genre of the manifesto thus must be u... more ... The paradox of Artaud's dependence on the literary genre of the manifesto thus must be understood as one more version of the struggle between performativity and theatricality at work in the manifesto at least since the Communist Manifesto. ...
New Literary History, 2002
... the theater. The two are intertwined enterprises, which therefore must be approached by way o... more ... the theater. The two are intertwined enterprises, which therefore must be approached by way of a double path: Plato/Greek Tragedy; Deleuze/Artaud; Nietzsche/Wagner; Derrida/Mallarmé; Benjamin/Trauerspiel. Each of these ...
Theatre Research International, 2009
... the thesis that 'All theatre is theatre of ideas'.33 Badiou here does not mean that... more ... the thesis that 'All theatre is theatre of ideas'.33 Badiou here does not mean that theatre ... audience can see and experience itself as audience rather than disappear, as it does in film ... of life was recognized by Alexander Nehamas in his book The Art of Living: Socratic Reflections ...
Neohelicon
Based on the author’s work as general editor of the Norton Anthology of World Literature, the ess... more Based on the author’s work as general editor of the Norton Anthology of World Literature, the essay develops an approach to world literature centered on world creation. The creation of literary worlds can be understood within the framework of possible worlds theory as developed by Thomas Pavel, Lubomir Dolezel and others. Taking its point of departure from possible worlds theory, the essay then focuses on specific genres that foreground the capacity of literature to create whole worlds, including world creation myths and science fiction. Three terms are used to analyze this body of literature: reference; scale; and model. While the category of reference accounts for the status of the worlds to be found within literary works, scale and model capture the particular challenges world creation literature faces.
New Literary History, 2010
New Literary History, 2010
New Literary History, 2010