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

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