Art enables us to interpret the world around us; just as Philosophy encourages us to understand our being in-existence. This project aims to discuss the way in which the art of theatre encourages us to reflect upon the world through a director\u2019s recreation of reality upon a stage. <\/p>\n
Heidegger\u2019s notion of \u2018being-in-the world\u2019 and language in his work Being and Time, encourages us as beings to come to terms with the idea of Being, otherwise known as Dasein. From this, we are able to grasp the true nature of our existence. <\/p>\n
I aim to pay close attention to the Artistic Director Sam Walters of the theatre in-the-round: The Orange Tree Theatre. Being-in-the-theatre is a process of entertainment, whereby as an audience we are faced with characters and scenarios that touch upon aspects of our own lives. Hence, there exists a fine line between forms of real life and the features of \u2018make-believe\u2019. <\/p>\n
In order to connect the art of theatre with Heidegger\u2019s philosophy, I aim to explore the concept of Being and art in his work The Origin of the Work of Art and Julian Young\u2019s Heidegger\u2019s Philosophy of Art, both of which consider and examine:
\n–\tThe \u2018origin\u2019 of an art-work.
\n–\tThe unconcealment of a \u2018world\u2019 via the metaphysical relationship between \u2018earth and world\u2019; shown through the Greek Temple.
\n–\tThe notion of truth [Wahrheit] revealed through an art-work. <\/p>\n
In order to test Heidegger\u2019s thought on language, art and Being, I aim to discuss Alan Ayckbourn\u2019s farcical creation of Taking Steps; a play that explores modern-day issues such as marriage and alcohol. As an audience, we recognise aspects of a \u2018taboo\u2019 subject-matter, but preserve our comfort-zone through laughter. <\/p>\n
I aim to conclude, that through \u2018being-in-the-theatre\u2019 with Heidegger\u2019s Philosophy, we essentially examine our world; and thus come to terms with the truth of our \u2018being-in-the-world\u2019.<\/p>\n","protected":false},"excerpt":{"rendered":"
Cecilia Segar, 2010, Stage 3<\/p>\n","protected":false},"author":8792,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[564,22,123],"tags":[223,34,351],"class_list":["post-1937","post","type-post","status-publish","format-standard","hentry","category-564","category-abstracts","category-stage-3-abstracts","tag-art","tag-heidegger","tag-theatre"],"_links":{"self":[{"href":"https:\/\/blogs.ncl.ac.uk\/philosophy\/wp-json\/wp\/v2\/posts\/1937","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blogs.ncl.ac.uk\/philosophy\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blogs.ncl.ac.uk\/philosophy\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.ncl.ac.uk\/philosophy\/wp-json\/wp\/v2\/users\/8792"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.ncl.ac.uk\/philosophy\/wp-json\/wp\/v2\/comments?post=1937"}],"version-history":[{"count":0,"href":"https:\/\/blogs.ncl.ac.uk\/philosophy\/wp-json\/wp\/v2\/posts\/1937\/revisions"}],"wp:attachment":[{"href":"https:\/\/blogs.ncl.ac.uk\/philosophy\/wp-json\/wp\/v2\/media?parent=1937"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blogs.ncl.ac.uk\/philosophy\/wp-json\/wp\/v2\/categories?post=1937"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blogs.ncl.ac.uk\/philosophy\/wp-json\/wp\/v2\/tags?post=1937"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}