The Theatre Of Truth

The Theatre of Truth

Doctoral Dissertation, University of California, Berkeley, 1995ABSTRACT: Jacob Moreno, MD (1889-1974) is known today as the founder of psychodrama, which he defined as "the science which explores the 'truth' by dramatic methods." This dissertation investigates Moreno primarily as a theatre artist. It starts with a philosophical analysis of the concepts of acting, improvisation and spontaneity and then consolidates the elements of Moreno's theory of the nature and function of theatre, which are dispersed throughout his writings and have never been thoroughly collected in one place. It also examines how Moreno discovered the healing power of drama while he directed his Theatre of Spontaneity in Vienna 1920s and in New York 1930s. The appendix contains Moreno's earliest theatrical text, The Godhead as Comedian, translated for the first time in its entirety from the 1919 German edition. (325 pages, including 19 p. of German and English references, chronology) www.scheiffele.com

The Theatre and the Church: Or, Gospel Truth to be Realized. [By G. E. Webster.]

The Theater of Truth

The Theater of Truth argues that seventeenth-century baroque and twentieth-century neobaroque aesthetics have to be understood as part of the same complex. The Neobaroque, rather than being a return to the stylistic practices of a particular time and place, should be described as the continuation of a cultural strategy produced as a response to a specific problem of thought that has beset Europe and the colonial world since early modernity. This problem, in its simplest philosophical form, concerns the paradoxical relation between appearances and what they represent. Egginton explores expressions of this problem in the art and literature of the Hispanic Baroques, new and old. He shows how the strategies of these two Baroques emerged in the political and social world of the Spanish Empire, and how they continue to be deployed in the cultural politics of the present. Further, he offers a unified theory for the relation between the two Baroques and a new vocabulary for distinguishing between their ideological values.