Dark Matter: Invisibility in Drama, Theater, and Performance

Index

205 Index Italicized page numbers followed by the letter f designate figures; those followed by the letter g designate Glossary listings. acting and Elizabethan transvestite convention , 43 as Faustian struggle with text, 163n68 “as if” playing of, 8–9 illocutionary power of, 156n8 “incorporation” compared with, 144–45 kinesis and mimesis blurring of, 129 performance theorists on, 22–25 as reversal of spectral reading, 154n59 as tension between feigning and doing, 129 via Behn’s stagecraft and coaching, 87, 184n70 actors as absent characters, 3, 7, 11 boys and men playing female characters , 43–44, 68–70, 167n28, 167n30, 168n35, 171n60 ghosting or microlensing by, 9, 42, 145, 178n20, 180n40 as if parodying devil-fleeing, 45–46, 169n38 “as if” playing of, 8–9 impersonation vs. personation by, 32, 161n52 performance vs. performativity by, 17– 18, 20, 21 as performer of black magic, 16–22 actresses, Restoration. See also the masked face as ambiguous signs, 88 ban of on English stage, 68–69 enacting of female agency and individuality by, 72 and first appearance of on English stage, 70–71, 178n16 ghosting or microlensing by, 76, 82, 178n13, 180n40 neutralization of via masks, 67, 75, 86 sexualization of, 71, 72, 82, 83, 86–89, 178n18 Adlington, William, 41 After the Fall (Miller, 1964), 105, 108 agency, individual. See also moral accountability ; subjectivity as authentic behavior, 114, 139 as autonomy, 24, 59–62, 77–78 vs. Calvinism, 34–35 as a free citizen, 105–6, 131 as free will, 29, 34, 61, 162n56, 183n63, 201g 206 • Index agency, individual (continued) illusion of, 34–35 Marxist critique of, 158n24 as owning one’s experience, 131 vs. performative acts, 21–22 vs. power, 111–12, 167n24, 190n38, 202g racism’s corrosive effects on, 131, 133 for trauma survivors in drama of witness , 133 of women in The Rover, 13, 72, 75, 85– 86, 88–89, 183n58 Agrippa, Cornelius, 26 Albee, Edward, 119 Albumazar (Tomkis, 1615), 184n74 Alchemist, The (Jonson, 1610), 34, 35, 45 Alcibiades (Otway, 1675), 76 All My Sons (Miller, 1947), 104, 105, 107, 109–10, 116 America Play, The (Parks, 1994), 6, 123–28. See also gunshots Angels in America (Kushner, 1993), 143 antimatter, dramatic, 196n50, 201g antirealism, 91–92, 103, 105, 108 antitheatricalists, 16–17, 32, 43–45, 69, 149n13, 158n30. See also English theater aporia, 101, 167n26. See also quantum uncertainty Apuleius, 41, 46 Archbishop’s Ceiling, The (Miller, 1977/1984), 104–16. See also Miller, Arthur “bugged ceiling of the mind” as dark matter, 13–14, 105–6, 109, 110–12, 114, 116 causal vs. prismatic perspectives of, 106– 8, 109–10 as drama of power, 105–6, 109, 110, 111– 12, 114, 190n32 incoherence of illusory self in, 105, 109, 115 metatheatrical dimension of, 106, 113, 114, 116 production and publication history of, 104, 187n1, 188n9 Areopagitica (Milton, 1644), 102 Aristotle, 33, 145, 176n105. See also drama, Aristotelian Armin, Robert (Elizabethan actor), 42 Artaud, Antonin, 123 As You Like It (Shakespeare, 1599–1600), 36, 42, 61–62, 157n18 askesis, 102 Assassins (Sondheim and Weidman, 1990), 195n40 atomism, 65, 176n105. See also subatomic particles Attempts on Her Life (Crimp, 1997), 138– 42, 196n54, 198nn74–78 audience attending of “performances” by, 156n7, 161n53 as communal response, 6, 122, 124 as dark matter, 114, 115–16, 152n45 emotions of, 120, 122 excluded from realism, 103, 114, 187n37 gravitational effects on, 51, 122–23, 132 performing for, 28, 30, 42, 99 perspective of, 6, 8, 36–37, 91–92, 123, 130 significations of masked women for, 67, 75, 76, 80, 82, 88 stargazing by at ghosted performers, 72, 76, 82, 145 theatrical experience of, 4, 63 Augustine of Hippo, Saint, 35, 101–2, 163n67 Austin, J. L., 12, 19–22, 33, 129, 157n19, 162n58. See also speech-act theory Baines, Richard (1593 letter by), 30, 158n33, 161n48 Barber, C. L., 39, 164n5 Barry, Elizabeth career of, 71–72, 182n49, 185n79 charisma of, 72, 79, 184n70 fictionalization of in The Libertine (Jeffrey , 1994), 178n20 Godfrey Kneller portrait of, 73f role of in playing a woman (Hellena) playing a boy, 81 and semiotic redshift, 86 Index • 207 supervised by Aphra Behn, 184n70 voice of, 85–86 Beckett, Samuel. See also Godot effect; Waiting for Godot and Augustine, 35, 163n67 exploded subject of via Mouth, 118, 122 phenomenological perspective by, 150n23 on suicide, 153n48 use of esse est percipi conceit by, 106 Behn, Aphra. See also Or, (Adams, 2009); Rover, The as...