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Towards a Dramaturgy of Physicalization and Imagination

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Abstract

In the concluding chapter, Kallenbach offers a comparative analysis of the strategies employed in Macbeth, A Doll’s House and The Killer. This leads to the establishing of an analytical dramaturgic framework that allows for the analysis of the dynamic layers of interplay between physicalization and the imagination. Kallenbach argues that analyzing plays from such a perspective allows for new interpretations to be discovered, which may not be discernible on the narrative, intra-fictional level alone. She identifies three key aspects of the dramaturgy of imagination—ascription, modes and dynamics—and also offers analytical approaches for examining the employment of physicalization and spatial practices in the drama text. The book ends with a look at the present-day interpretations of imagination and the challenges they pose.

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Notes

  1. 1.

    Kearney, The Wake of Imagination, 253.

  2. 2.

    Garrett Green, “The Mirror, the Lamp, and the Lens,” Ars Disputandi 2 (2002).

  3. 3.

    Imagination and creativity have, for example, received increased attention in both neuroscience and philosophy; see Beaney.

  4. 4.

    See Modell, 183.

  5. 5.

    Agnati et al.

  6. 6.

    Christopher C. Berger and H. Henrik Ehrsson, “Mental Imagery Changes Multisensory Perception,” Current Biology: CB 23, no. 14 (2013); Christopher C. Berger and H. Henrik Ehrsson, “The Content of Imagined Sounds Changes Visual Motion Perception in the Cross-Bounce Illusion,” Scientific Reports 7 (2017).

  7. 7.

    Christopher C. Berger and H. Henrik Ehrsson, “The Fusion of Mental Imagery and Sensation in the Temporal Association Cortex,” The Journal of Neuroscience 34, no. 41 (2014).

  8. 8.

    Lehmann, 21.

  9. 9.

    Ibid., 46.

  10. 10.

    Ibid., 68.

  11. 11.

    Ibid., 85.

References

  • Agnati, Luigi Francesco, Diego Guidolin, Leontino Battistin, Giuseppe Pagnoni, and Kjell Fuxe. “The Neurobiology of Imagination: Possible Role of Interaction-Dominant Dynamics and Default Mode Network.” Frontiers in Psychology 4 (2013-May-24, 2013).

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  • Beaney, Michael. Imagination and Creativity. 2nd ed. Milton Keynes: Open University, 2010.

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  • Berger, Christopher C., and H. Henrik Ehrsson. “The Content of Imagined Sounds Changes Visual Motion Perception in the Cross-Bounce Illusion.” Scientific Reports 7 (01/10/online 2017): 40123.

    Google Scholar 

  • ———. “The Fusion of Mental Imagery and Sensation in the Temporal Association Cortex.” The Journal of Neuroscience 34, no. 41 (October 8, 2014): 13684–92.

    Google Scholar 

  • ———. “Mental Imagery Changes Multisensory Perception.” Current biology : CB 23, no. 14 (2013): 1367–72.

    Google Scholar 

  • Green, Garrett. “The Mirror, the Lamp, and the Lens.” Ars Disputandi 2 (2002): 75–86.

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  • Kearney, Richard. The Wake of Imagination: Toward a Postmodern Culture. London: Routledge, 1998. 1988.

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  • Lehmann, Hans-Thies. Postdramatic Theatre [Postdramatisches Theater]. Translated by Karen Jürs-Munby. London: Routledge, 2006. 1999.

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  • Modell, Arnold H. Imagination and the Meaningful Brain. Cambridge, MA and London: MIT Press, 2006.

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Kallenbach, U. (2018). Towards a Dramaturgy of Physicalization and Imagination. In: The Theatre of Imagining. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-76303-3_10

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