At least since German idealism and Hegel&rsquo\;s fascination with Greek tragedy\, thinkers have \;increasingly turned to drama. The first point we want to focus on is whether the issue may not be \;deeper: if drama is in fact part of philosophy. In 2002\, Martin Puchner made a very intelligent review \;of how\, since Plato\, philosophy is at the same time dependent on theatre but always denying the \;theatre that exists. &ldquo\;Heidegger had captured the turn of the ontology for the philosophy of language \;with the wording &lsquo\;language is the house of being&rsquo\;\, a different tradition of philosophy appears to \;believe that this is a home theatre.&rdquo\; (524) &ldquo\;The history of the theory can not be considered \;independently of theatre history (...): Plato/Greek Tragedy\; Deleuze/Artaud\, Nietzsche/Wagner\; \;Derrida/Mallarmé\;\; Benjamin/Trauerspiel&rdquo\;(529) But &ldquo\;the theory creates its own concepts of \;theatricality\, which tend to be at odds with the real theatre.&rdquo\; (530).
\nThis conference\, along with a review of this multiple dependences between philosophy and drama\, \;also wants to account for the increasing use of what\, in a 1983 article\, Clifford Geertz (66) called the \;&ldquo\;dramatic analogy &ldquo\;: from the second half of the century XX\, theory increasingly uses the ideas of \;performance\, embodiment\, mask\, physicality\, scene\, and stage. But it is not enough that theory \;gives attention to theatricality\, it is also necessary that the theory itself is aware of it. Hence the \;other two aspects of the project: to develop the contribution of dramatic concepts to philosophical \;thought\, and vice versa\, to develop the contribution of philosophy to the scenic languages. Some \;books recently published have placed in the current agenda the &ldquo\;intersections between theater\, \;performance and philosophy&rdquo\;.
\nFinally\, to help define the terminology: &ldquo\;drama&rdquo\; is a semantic field used by all and we know of its \;polysemy. Here\, we characterize what is &ldquo\;dramatic&rdquo\; as what takes place on a stage or on movie \;screen and also what happens in everyday life. It is true that there may be\, in some languages or in \;some literary studies\, the tendency to associate &ldquo\;drama&rdquo\; only to written text\, or dramatic literature\, \;but nothing forces us to do so and that is not at all our intention. In many excellent cases\, the \;dramatic is even associated with what transcends text. For instance\, Benjamin wrote: &ldquo\;the dramatic \;(...) can never express itself in words\, but only in representation\; this is the &lsquo\;dramatic&rsquo\; in its most \;rigorous sense&rdquo\; (apud Lehmann 68). Precisely\, this project seeks to distance itself from past \;discussions on &ldquo\;Philosophy and Literature&rdquo\;\, for it does not understand drama as (mere) literature\, but \;rather in its performative dimension. It is precisely by the multiplicity of its languages that drama \;can enrich the philosophy of language: this project will accept contributions that refer to any of the \;languages used in the scene\, from text to movement or space\, as well as case studies in which the \;dramatic is found in theater\, dance\, film\, opera\, or in euphoric or dysphoric situations of everyday \;life.
References
Conference languages will be English or French. \;Conference fee: 200 euros.
\nContact: \;pfm@sapo.pt
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