A dramaturgy of montage and dislocation: Brecht, Warburg, Didi-Huberman, and the Pathosformel
Abstract
Drawing on the art historical criticism of Georges Didi-Huberman and Aby Warburg, Brecht is here reconsidered as a montage artist who not only produces on-stage juxtapositions, but one whose dramaturgy fractures and divides the body against itself in its fleeting response to pain-what Warburg called the "pathos formula" By keeping constituents within a state of suspended tension, Didi-Huberman argues such iconographic formulations communicate not only "knowledge-visible, legible, or invisible-but ... the intertwinings, even the imbroglio, of transmitted and dismantled knowledges" and "notknowledges." The perpetual sufferings of history elude full visibility, emerging "like a flash" within a dramaturgy of dialectical montage. This gives such a dramaturgy its ethical character.
RAS ID
24925
Document Type
Book Chapter
Date of Publication
2017
School
Western Australian Academy of Performing Arts (WAAPA)
Copyright
subscription content
Publisher
Brill
Comments
Marshall, J. W. (2017). A Dramaturgy of Montage and Dislocation: Brecht, Warburg, Didi-‐Huberman and the Pathosformel. Ethical Exchanges in Translation, Adaptation and Dramaturgy (pp. 187-209). Brill. https://brill.com/view/book/9789004346376/B9789004346376_012.xml