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The Drama of Ideas: Platonic Provocations in Theater and Philosophy. By Martin Puchner. Oxford: Oxford University Press, ; pp. $ cloth.
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Editor, 4-volume anthology of critical writing New York: Routledge, Puchner, Martin. Creative Destructions on the Modernist Stage. Editor, with Alan Ackerman New York: Palgrave Macmillan, Puchner, Martin.

Martin Puchner on "Plato's Shadows: Theatre and Philosophy"

Poetry of the Revolution. Marx, Manifestoes and the Avant-Gardes. Princeton University Press, Puchner, Martin.

Introduction to Tragedy and Metatheatre: Essays on Dramatic Form , by Lionel Abel. Holmes and Meier, Puchner, Martin.

Selected bibliography:

The chapter opens with a hermeneutic point:. This influence has been obscured by the distorted image of Plato as the enemy of drama and theater, and, more generally, by the lack of interest in the conjunction of drama and philosophy It is through this tradition that we can retrospectively identify Plato as a dramatist.


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Put a different way, this chapter tells the story of how Plato became a playwright. The book does not make clear why this tradition, most of which members seem to have been written in innocence of other similar works, and nearly all of which were neither more philosophical nor dramatically successful than any other play, teach us about Plato, philosophy, or drama. The rest of the book is about modern literature and philosophy.

They have come much too late in the book, and are anyway jumbled. That these are the best recent examples of philosophers who had specific reasons for writing on one occasion plays, another, essays, and yet another, novels, is a fact Puchner could have made better use of.

Theater, Performance, Philosophy Conference 2014

Bryn Mawr Classical Review Platonic Provocations in Theater and Philosophy. Oxford University Press, Reviewed by Christopher Moore, Skidmore College cmoore1 skidmore. The chapter opens with a hermeneutic point: Comment on this review in the BMCR blog. Books Available for Review.


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  8. Further on, Professor Puchner proceeded to propose a theoretical dichotomy between Aristotelian drama and Platonist drama. This distinction would be relevant for the case of modern theatre, which, following Brecht, was described as anti-Aristotelian drama.

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    Professor Puchner highlighted the fact that the dominant practice is to look at the history of drama through an Aristotelian lens. The question that can be raised is whether the philosophical dialogues of Plato can offer the proper lens to view the traditions of Modern drama. Platonic Provocations in Theatre and Philosophy , is that what is put in negative terms as anti-Aristotelian drama can best be described as Platonic drama.

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    His argument is supported by the fact that the twentieth century brings adaptations and plays influenced by the Platonic demands of theatre which stand in opposition to the Aristotelian requirements of mimesis and catharsis. Plato was critical of the Athenian theatrical system and he aspired to impose a new paradigm. As such, by reintegrating Plato into the dramatic cannon we can trace back to his dialogues elements of modern drama, such as the mix between tragedy and comedy, writing in prose, the introduction of the dialectical drama and the promotion of a theatre of ideas.

    Martin Puchner holds the H.