语源学
发表于 2025-3-26 23:33:19
Introduction: Theatrical Encounters,rformance theory. Beginning with an account of Samuel Beckett’s ., it argues that Beckett’s theatrical practices are guided by a desire to create encounters with an indeterminate and unthinkable chaos which is opposed to the very possibility of meaning. It also argues that Gilles Deleuze’s conceptio
notice
发表于 2025-3-27 04:45:48
,,: Performance and Philosophy in Beckett’s Non-relational Aesthetics,rmance and philosophy. It argues that Beckett was motivated by a desire to create theatrical encounters with a chaos which is so radically opposed to meaning that it could only be expressed as nothing. Focusing on Beckett’s . and the early reception of ., it also argues that Beckett’s interest in th
Infuriate
发表于 2025-3-27 05:54:20
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inquisitive
发表于 2025-3-27 09:53:19
,Belacquobatics: Deleuze, Affect and Beckett’s Affective Athleticism,ect. By examining Beckett’s interest in Dante’s Belacqua, his . and ., it argues that the body in performances of Beckett’s work undergoes becomings, and a becoming-animal, through the precise limitation of affect and through the fabrication of carefully restricted assemblages. Inventing the concept
euphoria
发表于 2025-3-27 15:50:05
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纵火
发表于 2025-3-27 21:02:43
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babble
发表于 2025-3-28 01:41:57
Conclusion: What Happened?,lterity of it throughout its own philosophical investigations. It argues that the study’s method provides guidelines and provocations for future research in Performance Philosophy and that its concepts may be of use in performance theory and the field of Beckett studies. Finally, it argues that the
anatomical
发表于 2025-3-28 04:21:00
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figment
发表于 2025-3-28 06:59:08
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FAZE
发表于 2025-3-28 11:47:39
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