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

Document Type

Book Chapter

Publication Title

Ethical Exchanges in Translation, Adaptation and Dramaturgy

Publisher

Brill

School

Western Australian Academy of Performing Arts (WAAPA)

RAS ID

24925

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

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.

Access Rights

subscription content

Link to Full Text

Share

 
COinS