By M. Pizzato
Ghosts of Theatre and Cinema in the mind specializes in the staging of Self and different as phantom characters contained in the mind (in the "mind's eye," as Hamlet says). It explores the brain's anatomical evolution from animal drives to human recognition to divine aspirations, via distinct cultural expressions in degree and monitor applied sciences. Even-numbered chapters examine particular dramas with ghost characters from the traditional Egyptians, Greeks, and Romans to Shakespeare, eastern Noh, sleek drama, and up to date movies. Odd-numbered chapters research numerous intersections of psychoanalytic and neuroscientific theories to discover the brain's internal theatre, relating to ghosts and gods played onstage and onscreen, as extensions of and connections among various brains particularly cultures.
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Additional resources for Ghosts of Theatre and Cinema in the Brain (Palgrave Studies in Theatre and Performance History)
Their creative and destructive forces may be ascribed to good and evil gods, family ghosts, or neuronal patterns and social rites. But despite great differences among human cultures of the past several millennia, we share with the ancient Greeks and Romans a battle inside our brains, between the neocortical consciousness of mortality, with its transcendent hopes, and the lack of organizing instincts to harmonize our animal drives. Theatre, in ancient times and in various stage and screen media today, extends the conflicts within the brain toward a shared performance experience.
But he then makes himself a ghost in another sense, before giving his mother her dream of deadly ecstasy. 21 He uses this disguise to penetrate the cultural womb of his home, where his father has been sacrificed and replaced. Yet, before Aegisthus is sacrificed in turn, as Oedipal stepfather, the Chorus makes the theatre audience complicit Ancient Specters 33 in that violent act. Addressing Orestes, they refer to the watching ghosts and gods, who want to see a bloody vengeance in his homecoming.
He explains that he was justified in killing and will now seek sanctuary with Apollo. Orestes thus becomes, to postmodern eyes, a split Self, both Dionysian and Apollonian (in Nietzsche’s sense), inheriting the multiple drafts of warfare between his parents. The play ends with Orestes also split between the theatre within his mind, projected outside him, and the world of his audience, as it conflicts with his vision. He sees the Furies of his mother’s revenge, “Gorgons draped in black, / teeming with their serpents knotted,” ready to chase him (Roche 152).
Ghosts of Theatre and Cinema in the Brain (Palgrave Studies in Theatre and Performance History) by M. Pizzato