Title

A dramaturgy of montage and dislocation: Brecht, Warburg, Didi-Huberman, and the Pathosformel

Document Type

Book Chapter

School

West Australian Academy of Performing Arts

RAS ID

24925

Comments

Originally published as: Marshall, J. W. (2017). ‘A Dramaturgy of Montage and Dislocation: Brecht, Warburg, Didi-‐Huberman and the Pathosformel. Translation, Adaptation, and Dramaturgy: Ethics. (pp. 187-209). Brill, Rodopi. Original article available here

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.

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