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Staging Beckettian Minds: Umwelt and Cartesian Stage Space in Beckett's Plays

Identifikátory výsledku

  • Kód výsledku v IS VaVaI

    <a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F00216208%3A11210%2F21%3A10457480" target="_blank" >RIV/00216208:11210/21:10457480 - isvavai.cz</a>

  • Výsledek na webu

    <a href="https://verso.is.cuni.cz/pub/verso.fpl?fname=obd_publikace_handle&handle=oKnEw8TX78" target="_blank" >https://verso.is.cuni.cz/pub/verso.fpl?fname=obd_publikace_handle&handle=oKnEw8TX78</a>

  • DOI - Digital Object Identifier

    <a href="http://dx.doi.org/10.1080/10486801.2021.1969559" target="_blank" >10.1080/10486801.2021.1969559</a>

Alternativní jazyky

  • Jazyk výsledku

    angličtina

  • Název v původním jazyce

    Staging Beckettian Minds: Umwelt and Cartesian Stage Space in Beckett's Plays

  • Popis výsledku v původním jazyce

    While working on his production of Endgame in the Schiller-Theater in 1967, Beckett outlined his view of theatre work to his production assistant Michael Haerdter: &apos;One turns out a small world with its own laws, conducts the action as if upon a chessboard&apos;. Drawing on biologist Jacob von Uexkiill&apos;s concept of Umwelt as &apos;an organism&apos;s model of the world&apos;, the present article outlines the characteristic creative environment of Beckett&apos;s theatre by investigating the role of the proscenium stage space as the &apos;chessboard&apos; in shaping Beckettian fictional minds. In most cases, the Umwelt enacted onstage is reduced to a bare minimum and increasingly defies the neat Cartesian mind-world dualism in favour of a continuous and constitutive interaction between the mind and its (fictional) environment. In choosing to pursue and foreground this mingling between mind and world, Beckett may have presaged a number of recent developments in philosophy and cognitive science that reject the Cartesian (representational) model of cognition and likewise build on the notion of Umwelt as the basis for all cognitive activity. The present article argues that Beckett&apos;s late plays both exploit and undermine the carefully crafted &apos;small world&apos; of the performance afforded by the proscenium stage space by introducing the trope of a disembodied voice, a crucial element in his work for radio and a recurring feature in his prose texts from the 1950s onwards.

  • Název v anglickém jazyce

    Staging Beckettian Minds: Umwelt and Cartesian Stage Space in Beckett's Plays

  • Popis výsledku anglicky

    While working on his production of Endgame in the Schiller-Theater in 1967, Beckett outlined his view of theatre work to his production assistant Michael Haerdter: &apos;One turns out a small world with its own laws, conducts the action as if upon a chessboard&apos;. Drawing on biologist Jacob von Uexkiill&apos;s concept of Umwelt as &apos;an organism&apos;s model of the world&apos;, the present article outlines the characteristic creative environment of Beckett&apos;s theatre by investigating the role of the proscenium stage space as the &apos;chessboard&apos; in shaping Beckettian fictional minds. In most cases, the Umwelt enacted onstage is reduced to a bare minimum and increasingly defies the neat Cartesian mind-world dualism in favour of a continuous and constitutive interaction between the mind and its (fictional) environment. In choosing to pursue and foreground this mingling between mind and world, Beckett may have presaged a number of recent developments in philosophy and cognitive science that reject the Cartesian (representational) model of cognition and likewise build on the notion of Umwelt as the basis for all cognitive activity. The present article argues that Beckett&apos;s late plays both exploit and undermine the carefully crafted &apos;small world&apos; of the performance afforded by the proscenium stage space by introducing the trope of a disembodied voice, a crucial element in his work for radio and a recurring feature in his prose texts from the 1950s onwards.

Klasifikace

  • Druh

    J<sub>imp</sub> - Článek v periodiku v databázi Web of Science

  • CEP obor

  • OECD FORD obor

    60205 - Literary theory

Návaznosti výsledku

  • Projekt

    <a href="/cs/project/EF16_019%2F0000734" target="_blank" >EF16_019/0000734: Kreativita a adaptabilita jako předpoklad úspěchu Evropy v propojeném světě</a><br>

  • Návaznosti

    P - Projekt vyzkumu a vyvoje financovany z verejnych zdroju (s odkazem do CEP)

Ostatní

  • Rok uplatnění

    2021

  • Kód důvěrnosti údajů

    S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Údaje specifické pro druh výsledku

  • Název periodika

    Contemporary Theatre Review

  • ISSN

    1048-6801

  • e-ISSN

    1477-2264

  • Svazek periodika

    31

  • Číslo periodika v rámci svazku

    4

  • Stát vydavatele periodika

    GB - Spojené království Velké Británie a Severního Irska

  • Počet stran výsledku

    17

  • Strana od-do

    438-454

  • Kód UT WoS článku

    000746705800006

  • EID výsledku v databázi Scopus