By Karen Bassi
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Additional info for Acting Like Men: Gender, Drama, and Nostalgia in Ancient Greece
Nostalgia and Drama It is not my intention to enter into the debate over the strict meaning of the term catharsis in the Poetics, and for that reason I have intentionally not translated it in the preceding passage. 21 Rather, I would like to attempt a preliminary accounting of its subsequent dominance in the critical history of theatrical experience. Within that history, catharsis has been variously defined as a cognitive or an emotional effect, as a purification or a purgation. It is also an effect that is paradoxically independent of the visual experience of the theater.
42 Scripted Speech 43 within the context of communicative practices. Based on the assumption that dramatic speech occupies a middle position between written speech (the script) and oral speech (in performance), this chapter begins with a look at the oral-literate binary in the Western tradition and goes on to define theatrical, or "scripted," speech as a genderspecific mode of communication within that binary. I will also argue that the nostalgia that governs the critical history of drama in the West is specified in the desire for an idealized speaking subject.
In equating the state of the actor with a state of ecstasy and trance, Schechner (1988), like Goldman (1975), implicitly alludes to the ritual origins of western drama-origins that he himself discounts. Acting Like Men the other. Yet the compound paradoxically signifies a lack of differentiation, an androgynous actor/ess. 46 Of course, the compound also implicitly alludes to the fact that the performing body of the actor, distinguished from an everyday or mundane body, signifies hyperbolic embodiment.