Philosophy in Rehearsal, 1950-1980

该项目关注的是1950-1980年间戏剧和哲学实践之间不断变化的关系，以展示戏剧排练是如何在欧洲和英美思想的许多传统中作为一种哲学探究模式出现的（广义解释）。虽然对戏剧作为一种形象和/或隐喻资源的依赖，以及更普遍地说，它对战后哲学的概念重要性正日益得到很好的描述（Pucher 2010； Boundas和Olkowski 1994； Cull 2009； Fisher和Gotman 2019），但该项目首次尝试在实践层面上研究“理论上的戏剧转向”。它将关注更正式的“戏剧”哲学实践的出现，其中哲学生产与戏剧生产过程密切相关，新近被视为哲学方法和思想技术。与这一时期将哲学思想理解为与哲学文本绑定的符号学和/或诗歌过程的概念相反，该项目试图恢复平行的材料历史和/或哲学思维的具体化实践，因为它们出现在纽约，伦敦，巴黎和柏林的排练室

This project concerns itself with the changing relation(s) between theatrical and philosophicalpraxes, 1950-1980, to show how the theatrical rehearsal emerges as a mode of philosophicalinquiry across a number of traditions in European and Anglo-American thought (broadly construed).While a dependence on the theatre as a figural and/or metaphorical resource and, more generally, its conceptual importance to post-war philosophy is coming to be increasingly well-charted (Pucher 2010; Boundas and Olkowski 1994; Cull 2009; Fisher and Gotman 2019), this project makes the first attempt to examine the 'theatrical turn in theory' at the level of praxis. It will focus on the emergence of more formally 'theatrical' philosophical practices, in which philosophical production is closely identified with processes of theatrical production, newly conceived as both philosophical method and technique of thought. Running counter to conceptions of this period as one which understands philosophical thought as a semiological and/or poetic procedure bound to the text of philosophy, this project attempts to recover a parallel history of material and/or embodied practices of philosophical thinking, as they emerge from rehearsal rooms in New York, London, Paris and Berlin