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The Critic as Mime: Wilde's Theoretical Performance

The Critic as Mime: Wilde's Theoretical Performance THE CRITIC AS MIME: WILDE’S THEORETICAL PERFORMANCE NIDESH LAWTOO Such lives do not simply conform to moral precepts or norms in such a way that selves, considered performed or ready-made, fi t themselves into a mold that is set forth by the precept. —Judith Butler (2001) Literature always anticipates life. It does not copy it but moulds it to its purpose. —Oscar Wilde (2007b) Since the beginning of philosophy the theater has been subjected to violent philosophical critiques, which does not mean that the subject who was performing the critical operation could be easily identifi ed. The problematic of the subject has, in fact, always been jointly connected to both theory and the theater, two competing and rivalrous fi elds which, as their joint etymology suggests, may not be as opposed as they appear to be. Theory (from theorein, to speculate or look at) and theater (from theatron, a place of viewing) are, in fact, two manifestations of the same art, which consists, fi rst of all, in the art of seeing (from thea, a view, a seeing, but also a seat in the theater). Traditionally, as they turned to face each other, theory and the theater have generated http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png symploke University of Nebraska Press

The Critic as Mime: Wilde's Theoretical Performance

Lawtoo, Nidesh
symploke , Volume 26 (1) – Nov 28, 2018
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Publisher
University of Nebraska Press
Copyright
Copyright © 2008 symploke.
ISSN
1534-0627

Abstract

THE CRITIC AS MIME: WILDE’S THEORETICAL PERFORMANCE NIDESH LAWTOO Such lives do not simply conform to moral precepts or norms in such a way that selves, considered performed or ready-made, fi t themselves into a mold that is set forth by the precept. —Judith Butler (2001) Literature always anticipates life. It does not copy it but moulds it to its purpose. —Oscar Wilde (2007b) Since the beginning of philosophy the theater has been subjected to violent philosophical critiques, which does not mean that the subject who was performing the critical operation could be easily identifi ed. The problematic of the subject has, in fact, always been jointly connected to both theory and the theater, two competing and rivalrous fi elds which, as their joint etymology suggests, may not be as opposed as they appear to be. Theory (from theorein, to speculate or look at) and theater (from theatron, a place of viewing) are, in fact, two manifestations of the same art, which consists, fi rst of all, in the art of seeing (from thea, a view, a seeing, but also a seat in the theater). Traditionally, as they turned to face each other, theory and the theater have generated

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symploke – University of Nebraska Press

Published: Nov 28, 2018

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