Table Of ContentTheory/Theatre
Theory/Theatre provides a unique and engaging introduction to
literary theory as it relates to theatre and performance. Mark
Fortier lucidly examines current theoretical approaches, from
semiotics, poststructuralism, through cultural materialism,
postcolonial studies and feminist theories.
Drawing upon examples from Shakespeare through Aphra Behn,
to Chekhov, Artaud, Cixous and Churchill, the author examines
the specific realities of theatre in order to come to a richer
understanding of the relations between performance and cultural
theory.
Theory/Theatre is the only study of its kind and will be invaluable
reading for beginning students and scholars of performance
studies.
Mark Fortier is Associate Professor of English at the University
of Winnipeg. He has published on Shakespeare, contemporary
theatre, cultural studies and theory.
Theory/Theatre
An Introduction
Mark Fortier
LONDON AND NEW YORK
First published 1997
by Routledge
11 New Fetter Lane, London EC4P 4EE
Simultaneously published in the USA and Canada
by Routledge
29 West 35th Street, New York, NY 10001
Routledge is an imprint of the Taylor & Francis Group
This edition published in the Taylor & Francis e-Library, 2002.
© 1997 Mark Fortier
All rights reserved. No part of this book may be reprinted or
reproduced or utilized in any form or by any electronic, mechanical, or
other means, now known or hereafter invented, including
photocopying and recording, or in any information storage retrieval
system, without permission in writing from the publishers.
British Library Cataloguing in Publication Data
A catalogue record for this book is available from the British Library
Library of Congress Cataloguing in Publication Data
A catalogue record for this book has been requested
ISBN 0–415–16164–9 (hbk)
ISBN 0–415–16165–7 (pbk)
ISBN 0–203–14105–9 Master e-book ISBN
ISBN 0–203–21778–0 (Glassbook Format)
CONTENTS
ACKNOWLEDGEMENTS vii
INTRODUCTION 1
1 Theatre, life and language: semiotics, phenomenology
and deconstruction 17
1 Semiotics 18
2 Phenomenology 29
3 Post-structuralism and deconstruction 37
2 Subjectivity and theatre: psychoanalytic, gender and
reader-response theory 52
1 Psychoanalytic theory 55
2 Feminist and gender theory 70
3 Reader-response and reception theory 87
3 World and theatre: materialist, postmodern and
post-colonial theory 101
1 Materialist theory 103
2 Postmodern theory 118
3 Post-colonial theory 130
CONCLUSION 144
NOTES 149
SELECT BIBLIOGRAPHY 170
INDEX 187
ACKNOWLEDGEMENTS
I owe a great deal to a completely gratuitous act of generosity
on the part of Herbert Blau in the early stages of this project.
Talia Rodgers at Routledge guided my work from its inception
– my title is a variation on one suggested by her. My basic
understanding of theatre I learned from Skip Shand, who has
given me years of encouragement. Linda Hutcheon showed
much appreciated enthusiasm for an early draft of part of this
book. The anonymous readers for Routledge have helped make
my book much better than it would otherwise have been.
Research was done mainly at the University of Toronto and at
theatres in Toronto, Peterborough and Stratford, Ontario, and in
New York and London. The University of Winnipeg kindly
provided a discretionary grant to help pay the costs of the index,
which was prepared by Elizabeth Hulse. I would like to thank
my friends at Scarabeus Theatre, Daniela Essart and Søren
Nielsen, for permission to use their photograph for the cover of
this book. Faye Pickrem held my hand and gave me counsel
through the long process. Finally, I dedicate this book to my
parents, Charles and Gloria Fortier, whose unconditional love
and support have helped me through life’s rough spots.
INTRODUCTION
There are more things in heaven and earth, Horatio,
Than are dreamt of in your philosophy.1
For questioning is the piety of thought.2
WHY THIS BOOK?
1
We are fast approaching the end of a millennium, with suitably
dire or utopian speculations on what the new age will be like:
images of angels, cyberspace and global disaster weave their way
through our cultural revery. What is less often remarked upon in
such a momentous situation is that we are also fast approaching
the end of a century, a century of great wars, technocracy and
human mobility, among other things. What is even less frequently
noted is that we are approaching the end of a half century or less
of intense activity in the area of cultural theory.
2 INTRODUCTION
Cultural theory, of course, began at least as far back as ancient
Greece. Our own theoretical era, broadly conceived, began in
the nineteenth century with G.W.F. Hegel, Karl Marx and
Friedrich Nietzsche, continued into the early twentieth century
with Sigmund Freud and Ferdinand de Saussure, and then into
the middle of this century with, among others, Mikhail Bakhtin,
Antonio Gramsci, Walter Benjamin and Simone de Beauvoir.
But it is really since the 1960s that cultural theory, or just plain
‘theory’ as we now call it, has become a ubiquitous and dominant
force in academic and cultural environments. Deconstruction,
feminism, post-colonialism, semiotics, queer theory,
postmodernism, and so forth, have come to define for many
the most fruitful and appropriate ways of looking at culture,
politics and society. Somewhat like Latin in the Middle Ages
and early Renaissance, theory has become the lingua franca which
allows people in many nations and in such widely disparate
fields as literature, history, sociology, architecture and law to
find a common ground and vocabulary for their discussions.
Theatre is another area in which theory has had a powerful
influence. There are learned journals rife with theoretical studies
of theatre and many books which apply deconstruction,
semiotics, psychoanalysis or some other theoretical perspective
to various theatrical works. There is not so far, however, a book
which sets out to introduce the theatre student to a broad range
of theory at a basic or intermediate level. In the simplest and
most obvious sense, this book is intended to be such an
introduction. The primary meaning of its title points in this
direction: for the student who simply wants to know more about
theory’s possible relevance to theatre, this book is a systematic
introduction of the application of theory to theatre.
All disciplines where theory has encroached have offered a
degree of resistance: for some, theory is too abstruse, too jargon-
ridden, too divorced from practicality. In theatre studies
especially, theory has not had the open-armed acceptance that
