Back Matter

Source: Performing Arts Journal, Vol. 13, No. 1 (Jan., 1991), p. 94

Published by: Performing Arts Journal, Inc
Stable URL: https://www.jstor.org/stable/3245507
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 I I

The Audience
Herbert Blau

Friedrich Nietzsche was certain that Euripides hadn't "the slight-

est reverence for that band of Bedlamites called the public."
Bertolt Brecht discovered at one point in his career that "the sole
spectator" for his plays was Karl Marx. And Virginia Woolf,
I writing in her diary near the end of her life, contemplated the
absence of a public: "No Audience. No echo. That's part of

I
one's death."

Moving from that distressing possibility, Herbert Blau consider

the questionable assumption of a communal presence and the
indeterminacy of the solitary spectator through a sort of partic
physics or subatomic view of the theater. No more than an
image itself, the audience is viewed by Blau as participant and
celebrant, observer and beholder, eavesdropper and voyeur,
"culinary" as in Brecht or cannibalistic as in Genet, collective or
solitary or intimately separate-or, as in the conscience-catch-
ing mousetrap of Hamlet, "guilty creatures sitting at a play."

What is remarkable about The Audience is its range: from

Panathenaic festival of the ancient world to the "participation
mystique" of the sixties; from the structure of voyeurism in the
proscenium theater to the modernist techniques which tried to
break it down; from the strategies of incorporation and disper-
sion in the postmodern performance to private, sometimes illicit
performance that carefully limits the audience or removes itself
from sight; from the transgressive challenges of body art to
obscene, virulent, or gender-disrupting performances which
may drive the audience up the wall; to spectacles of tourism in
which dispersion itself seems, for an audience-on-the-move, like
a new form of social control.

"This is a formidable book in almost every respect-its size, its

range of reference, its ambition and implications, and the
challenges it puts before its reader. There is really nothing like it
in English, although Blau's previous works Take Up the Bodies,
Blooded Thought, and The Eye of Prey prefigure it in certain
themes and in technique. The Audience goes far beyond these,
however, in its range of reference and in its application of
insights about performance and theatricalization to a great
deal of contemporary culture and politics. Blau's ability to con-
nect together disparate material is admirable, and is demon-
strated on almost every page of the book."--Marvin Carlson,
The City University of New York

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 ~1~1111 II III 'Ir If IIERIE IIr( ra I sr (
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 ~4~9~1 necdotes
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 - -

Performance Studies...
Scholarship with a Difference
The Department of Performance Studies,
the first program of its kind, offers an inte-
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Our faculty includes Barbara Kirshenblatt-

Gimblett (Chair), Martha Davis, Michael
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Richard Schechner, Marcia B. Siegel, and
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ulty has included Robert Farris Thompson,
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E W Z i r^ \ z ,^JT - For more information, call (212) 998-1620,

FAX (212) 995-4060, or write to Tisch
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, 1 _ 1 1 , _ 1

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 THREE CONTEMPORARY
BRAZILIAN PLAYS
in bilingual edition
TRANSLATED BY ELZBIETA SZOKA,
LYDIA GOUVEIA MARQUES
& CELINA PINTO

Plinio Marcos, Leilah Assungao and

Consuelo de Castro demonstrate why
they are considered the most creative WONTEMPORARY
dramatists writing in Brazil today with JBRAZILIAN

this bilingual volume. Marcos' violence,

in bilingual edition
Assungao's sexual politics and de
Castro's existential conversation with
527 pages
death lead to the most exciting theater 0-924047-00-3
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rl I I LI I ILIr

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.ti f;.nn Pie Siege of Ostend
The Actor 9Makes iLs ?Eit
Transfiguration in the Circus
TRANSLATED BY DAVID WILLINGER

Bringing to life the macabre carnivals of

Flemish painters Hieronymous Bosch
and James Ensor Michel de Ghelderode
is after long absence once again available
to English speaking audiences. Eminent
scholar and translator David Willinger
has chosen three plays which have never
before been translated into English for
this volume.

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 Drama
FACULTY
Wlliam S. Eddelman,
Design/ Theater History .
Harry Elam, (Visiting)
Dramatic Literature and
Directing * Martin Esslin,
(Emeritus), Dramatic
Literature and Criticism *

?j The Department of Drama at Charles R. Lyons,

Dramatic Criticism *
* Stanford University offers a
Michael F. Ramsaur,
? unique Ph.D. program that (Chair), Lighting Design *
. integrates theory (Dramatic Alice Rayner, Dramatic
Literature and Criticism *
*x Criticism or Theater History) with
Rush Rehm, Acting,
? practice (Directing or Design).
Directing and Dramatic
Criticism ' Douglas A.
The department admits no more
Russell, Costume Design
II_ ? than four Ph.D. students each year. and History Patricia
The deadline for applications is Ryan, Acting Anna
January 1, 1991. The GRE is Deavere Smith, Acting

es required. Fellowships are available. and Playwriting ?

Alexander Stewart,
Technical Production
* Of those receiving the Ph.D. from
Connie Strayer,
the Department of Drama in the last Costume and Makeup '
ten years, 87% moved on to Carl Weber, Directing
.: academic appointments. These Sheila Weber, Acting
John B. Wilson, Design
v? Ph.D's currently hold faculty
? positions at institutions such as #Fe
* Brown University, Colby College,
? the University of California (at
* Berkeley, Los Angeles, and San
' Diego), Grinnell College,
* Northwestern University, Stanford
^^ :University, the University of
* Washington and the University of
e :Wisconsin (Madison).
( : Other Stanford graduates have high
? level positions in professional
? theater companies such as the

Ph.D.
_h * ?American Repertory Theater, Arena
e _ . Stage, Mark Taper Forum and
? Playwright's Horizon.

Stanford University
Department of Drama
Stanford, CA 94305-5010
(415) 723-2576

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