"In limine, notes for a symptom Theatre" is an essay by Francesco Chiantese that in Italy has sold about 800 copies between printer books and ebook version. It is a theatrical essay that, through the notes of the first twenty rsearch's years of the young Italian director, comes to define a "Theatre of the symptoms."

The first study to utilize the Klagenfurt Edition of Musil's Nachlass offers a close reading of textual variations, emphasizing Musil's commitment to the artist's role in re-creating the world. Robert Musil, known to be a scientific and philosophical thinker, was committed to aesthetics as a process of experimental creation of an ever-shifting reality. Musil wanted, above all, to be a creative writer, and obsessively engaged in almost endless deferral via variations and metaphoric possibilities in his novel project, The Man without Qualities. This lifelong process of writing is embodied in the unfinished novel by a recurring metaphor of self-generating de-centered circle worlds. The present study analyzes this structure with reference to Musil's concepts of the utopia of the Other Condition, Living and Dead Words, Specific and Non-Specific Emotions, Word Magic, andthe Still Life. In contrast to most recent studies of Musil, it concludes that the extratemporal metaphoric experience of the Other Condition does not fail, but rather constitutes the formal and ethical core of Musil's novel. Thefirst study to utilize the newly published Klagenfurt Edition of Musil's literary remains (a searchable annotated text), The World as Metaphor offers a close reading of variations and text genesis, shedding light not onlyon Musil's novel, but also on larger questions about the modernist artist's role and responsibility in consciously re-creating the world. Genese Grill holds a PhD in Germanic Literatures and Languages from the GraduateSchool and University Center of the City University of New York.

Constitutes the first analysis of the modern performance of ancient Greek drama from a theoretical perspective.

"Brings together a diverse range of voices and perspectives, appropriately conveying the sense of scholars and artists engaged in ongoing debate about a developing form. ... It is a style of performance I ahve had little direct experience with but the book made me want to hear and see more."--Jackie Smart for Theatre Research International.

""This play is not about my mother and me," begins Lisa Kron in Well. And yet, she has brought her mother, Ann, on stage with her. Needless to say, Ann disrupts the proceedings and soon the actors Lisa has hired to enact her "multicharacter exploration of issues of health and illness" discover that Ann is considerably more interesting than Lisa's play. In the end, Lisa's carefully constructed narrative collapses, leaving her to contemplate the notion that wellness lies in our ability to embrace the complexities and contradictions of life. Well is a surprising and funny play that ultimately acknowledges the heartbreaking challenge of true empathy, even toward those we love the most."--BOOK JACKET.

Using the theatre as a central metaphor, this text provides a flexible framework to explore the psychic realities of the characters within us. Case studies underscore how different kinds of patients construct particular fantasies as a response to the pain of earlier life scenarios.