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Technologies of Critique$
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Willy Thayer

Print publication date: 2020

Print ISBN-13: 9780823286744

Published to Fordham Scholarship Online: September 2020

DOI: 10.5422/fordham/9780823286744.001.0001

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PRINTED FROM FORDHAM SCHOLARSHIP ONLINE (www.fordham.universitypressscholarship.com). (c) Copyright Fordham University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in FSO for personal use.date: 27 September 2021

Critique as the Unworking of Theater

Critique as the Unworking of Theater

Chapter:
29 Critique as the Unworking of Theater
Source:
Technologies of Critique
Author(s):

Willy Thayer

, John Kraniauskas
Publisher:
Fordham University Press
DOI:10.5422/fordham/9780823286744.003.0029

This chapter focuses on “The Author as Producer,” where Walter Benjamin sets out the demand, the artistic, or political coefficient that Bertold Brecht made of author-actors and of critics. It looks at the ways illusions are nourished in situ without interruption that represents a highly disputable activity and even more so if the materials enhancing such fascination present themselves as revolutionary in nature. The chapter also analyzes Edgar Allan Poe's works that suggest writing a poem is conceived as an absolute commodity that defines beforehand the points of sensibility upon which the poem must act so as to absolutely fascinate. It emphasizes how fascination is what any commodity tautologically seeks rather than to awaken or establish a distance. The author, the director, the actor, and the modern poet hope to exercise the power of reverie in which the spectators embody their hopes in order to satisfy them passionately.

Keywords:   The Author as Producer, Walter Benjamin, Bertold Brecht, author-actors, Edgar Allan Poe, poem, spectator, critics

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