Common Knowledge

Morson, Gary Saul

2011 Common Knowledge

doi: 10.1215/0961754X-1187932

In a memorial essay on the philosopher Stephen Toulmin (1922–2009), the author discusses ideas that he and Toulmin drew, over the years, from their reading and coteaching of Tolstoy. He speculates that Toulmin's interest in Tolstoy may have been encouraged by Wittgenstein, Toulmin's teacher and a lover of Tolstoy. All three men understood philosophy as having taken a wrong turn with the rise of rationalism, which occasioned to the idea that social life could be shown to conform to a hard science modeled on Newtonian physics. They saw the dream of a social science as entirely spurious, the superstition of the modern world. They found the idea—held by economists and disciplines inspired by their models—that social processes tend to a predictable optimality absurd, both because the hallmark of real life is imperfection and because (so far as predictability is concerned) time is open to alternatives. Although he did not use the term "casuistry," which Toulmin revived, Tolstoy saw ethics as a matter of case-based reasoning irreducible to a system; and both thinkers regarded the realist novel as the natural home of ethics viewed this way. Anna Karenina also contains an argument about modernization and reform similar to the one that Toulmin advances in Return to Reason . Toulmin took a special, and evidently personal, delight in that novel's portrait of the shortcomings of intellectuals, for whom abstract theory and solidarity with other intellectuals count above all. Such intellectuals, portrayed in the novel and all too common in Toulmin's time, smugly dismiss truly independent thinkers as "reactionary," unenlightened, or unable to rise above the messiness of lived experience to the theoretical world of which intellectuals are the masters. Such thinking, the essay concludes, assures intellectuals' sense of superiority but at the cost of real understanding.

Perl, Jeffrey M.; Gossett, Philip; Levin, Robert; Kallberg, Jeffrey; Jones, Steven E.; Puchner, Martin; Stern, Tiffany; Franko, Mark; Moseley, Roger

2011 Common Knowledge

doi: 10.1215/0961754X-1187941

This essay introduces a Common Knowledge symposium on the relationship between texts (for instance, musical scores or dramatic scripts) and performance in the arts by drawing out its implications for the interpretation of publicly consequential texts (such as constitutions, legal statutes, and canon law). Arguing that judges and clerics could learn much from studying the work of Philip Gossett and other practitioners of textual criticism in the arts, the essay suggests that a wider array of choices exists for legal interpretation than the usual alternative between originalism or literalism, on the one hand, and intuitionism, on the other hand. Contributions to the symposium (titled "Between Text and Performance") emphasize what Roger Moseley calls "improvisatory fluency in historical idioms," and this introduction recommends that jurists develop for the law the kind of "ear" that musicians must have when a score invites or demands improvisation.

Gossett, Philip

2011 Common Knowledge

doi: 10.1215/0961754X-1187950

This article—part of a Common Knowledge symposium titled "Between Text and Performance"—argues that the publication of a new edition of Il barbiere di Siviglia in Works of Gioachino Rossini (Bärenreiter-Verlag, Kassel) offers an excellent opportunity to reflect upon the written text of an opera and its relationship to the work that performers must do to realize the opera in the theater. Rossini wrote many passages that demand the intervention of performers (performing them "as written" is simply an error), yet this does not mean necessarily that "anything goes." The new edition not only gives Rossini's own variations for the opera, but also (in an appendix prepared by Will Crutchfield) indicates the nature of ornamentation and variations employed by singers before 1850. Many of the variations still heard today in the opera house reflect practices from the end of the nineteenth and early twentieth centuries. There is no moral obligation to avoid such practices, but one wants singers to be fully aware of what they are doing. This essay provides extensive examples of the kind of autograph notation that signals the obligatory intervention of performers and offers many examples from performers who were contemporaries of Rossini as to how they went about their task of representing the composer's work on stage.

Levin, Robert

2011 Common Knowledge

doi: 10.1215/0961754X-1187959

Comparison of surviving texts of eighteenth-century composers, Bach and Mozart in particular, show that considerable latitude was granted to performers for extempore embellishment and cadenzas, not only in arias and concertos but in solo works as well. Amateurs required prepared elaborations, whereas professional performers did not. The aesthetic of improvisation in performance is shot through with risk—an element sadly lacking in the training and the performance of classical music at the present time. This article finds distinct parallels among what it calls the "ghetto language" of 1730s Leipzig, 1780s Vienna, and 1930s New York. Duke Ellington is said to be Bach's and Mozart's true successor.

Kallberg, Jeffrey

2011 Common Knowledge

doi: 10.1215/0961754X-1187968

When we view Chopin's later works in the context of his biography, we find a conjunction of real-life machines (trains, the telegraph), mimetic mechanical music (music boxes), and prolific textual variants. Particularly fascinating are several late pieces that feature canons, a form of strict counterpoint that at once evokes the notion of "machine music"—the leading line seems automatically to generate the following line—and produces relatively few textual variants that concern pitch. Variants in the realm of performing indications, though, occur frequently. Chopin worked hard to ensure fidelity of pitch, but—this article shows—in giving the performer leeway to choose among various modes of performance, he ensured a role for individual expression in musical textures otherwise evocative of notions of science and logic.

Jones, Steven E.

2011 Common Knowledge

doi: 10.1215/0961754X-1187977

This article continues from where the author's 2008 book The Meaning of Video Games concluded and concerns what he learned from playing the simulation game Spore by Sims -creator Will Wright, especially the extent to which a social-network model had become during the development process the infrastructural backbone of the game. Spore 's approach to the problem of building an asynchronous content-creation and content-sharing system aligned the video game with the most important trends in text-based digital humanities scholarship today. Thus this article compares video games and digital texts, not in terms of their supposedly shared narrative content (not in terms of their content at all) but, rather, formally—in terms of how they model complex systems, how both video games and digital-text environments work by creating networked environments for the production, reproduction, transmission, and reception (indeed for the continual reediting) of their respective content-objects. Both texts and video games are systems, with their own special affordances and constraints, that provide both "spores" and "spurs," seeds and provocations, prompts for new performances of meaning.

Puchner, Martin

2011 Common Knowledge

doi: 10.1215/0961754X-1187986

In theater studies, the dramatic text tends to be treated as a remnant of an older and even old-fashioned type of theater that has now been replaced by a "post-dramatic" theater, answering only to the logic of performance. Against that view, the article argues for the continuing importance of the dramatic text across different types of theater, including those termed post-dramatic. For what has changed in the case of theater groups such as the Wooster Group that are associated with post-dramatic theater is not that they discard the dramatic text, but rather that they envision a different relation to it. In order to capture the different functions of text in theater, the essay proposes three models and touches on their historical manifestations. The first assumes that the dramatic text dictates theatrical performance; the second, that the dramatic text needs to be supplemented by theatrical performance; and the third, that the text needs to undergo a process of adaptation. This third model is then applied to two case studies, the production by the Wooster Group of Gertrude Stein's Doctor Faustus Lights the Lights and the production by Big Dance Theater of Mac Wellman's Antigone.

Stern, Tiffany

2011 Common Knowledge

doi: 10.1215/0961754X-1187995

Songs in early modern playbooks—printed books of the plays of Shakespeare and other authors—differ from the surrounding dialogue in a number of ways. They are often in italic though the dialogue tends to be in roman lettering; and they are frequently topped with the heading "Song," self-evident information that is a statement rather than a stage direction. On other occasions, songs are missing from the text altogether, leaving a stranded heading, "Song," though no words are supplied at all. This article asks why it is that songs have a different story from their surrounding dialogue. In so doing, it considers how playwrights conveyed their songs to composers and composers conveyed their songs to player-singers. Moments of textual oddity in printed and manuscript plays, it is argued (with numerous examples), are revelatory about performance even when the songs themselves are absent from the text.

Franko, Mark

2011 Common Knowledge

doi: 10.1215/0961754X-1188004

This article explores the history of dance notation from the Renaissance to postmodern dance. It examines the tension between text and oral tradition in Western dance practices, as well as the issue of how to reconcile our views of choreography as both scriptural and visual. It has been difficult, if not impossible, to think of notation in relation to composition; notation has become almost solely associated with reconstruction as a phenomenon of historical interest. But, at the same time, the sense of the score—and hence some notion of notation—seems to remain within the body and the mind of the dancer as a danced possibility. That is to say, some form of cognitive mapping takes the place of the idea of notation and takes root in the dancer's mind and body (if not on paper). Literal notation is not just secondary but tertiary with respect to this sense of scoring, which appears to preexist notation in the mind and the body, making of dance a form that places particular demands on the performer.

Moseley, Roger

2011 Common Knowledge

doi: 10.1215/0961754X-1188013

This article details the motives, processes, and historical context behind an improvised performance of a commedia dell'arte -style pantomime originally devised by Mozart and his friends during the Viennese Carnival season of 1783. The performers' efforts to reconstruct and interpret the fragmentary musical and literary materials that survive are framed by a consideration of the marginal position that musical improvisation occupies in the history of eighteenth-century music, and alternative historiographical and ethnographical methods are explored for the insights they can offer into praxes of extemporized music making. Improvisatory traditions in the realms of jazz and the commedia dell'arte offer models for reconceiving Mozart's music as a dialogical and collaborative medium; they also suggest ways in which present-day performers can gain historical, phenomenological, and hermeneutical insights into eighteenth-century texts and performances by engaging with them as improvisers.