This book is the first comprehensive analysis of the fascinating and strikingly diverse history of imagination in the context of theatre and drama. Key questions that the book explores are: How do spectators engage with the drama in performance, and how does the historical context influence the dramaturgy of imagination? In addition to offering a study of the cultural history and theory of imagination in a European context including its philosophical, physiological, cultural and political implications, the book examines the cultural enactment of imagination in the drama text and offers practical strategies for analyzing the aesthetic practice of imagination in drama texts. It covers the early modern to the late modernist period and includes three in-depth case studies: William Shakespeare’s Macbeth (c.1606); Henrik Ibsen’s A Doll’s House (1879); and Eugène Ionesco’s The Killer (1957).

Son of Spinoza sheds light on the interconnectedness between Jewishness and cosmopolitanism in the oeuvre of the Danish-Jewish intellectual Georg Brandes (1842-1927). Today, the historical tradition of interconnecting these concepts has largely been forgotten, although the construction of a somewhat synonymous relation between them became a key structuring element of modern antisemitism and later Nazi ideology. In this context, Georg Brandes–his writing and practice–stands as a crucial European cosmopolitan archive, due to the great influence he enjoyed throughout the European continent. Son of Spinoza challenges the presentation of Brandes in previous research as a so-called assimilated Jew who distanced himself from Jewishness, instead recognizing Brandes’ own self-identification as a Spinozist cosmopolitan and his depiction of himself and other modern Jews as ‘sons of Spinoza’.