By Karen Bassi
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In Dr. Faustus, Christopher Marlowe wrote a profoundly non secular drama regardless of the theater's newfound secularism and his personal acceptance for anti-Christian irreverence. The Aesthetics of Antichrist explores this obvious paradox via suggesting that, lengthy prior to Marlowe, Christian drama and formality functionality had reveled in staging the cave in of Christianity into its old opponents—paganism, Judaism, worldliness, heresy.
Extra resources for Acting Like Men: Gender, Drama, and Nostalgia in Ancient Greece
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38 This desire to see through the body is also explanatory of the concept of identification that is common to psychoanalysis and to contemporary critical analyses of dramatic performance. I know of no historical basis for their shared use of the term, nor am I relying on the fact that one exists; identification does similar conceptual work in both theoretical domains, however. Generally descriptive of the pre-Oedipal or Oedipal desire to be or become the other, Identifizierung in the psychoanalytical literature is initiated and achieved through that desire.
In the introduction, I suggested that by virtue of their cultural primacy, the Homeric epics establish models for representing human speech and the display of the human body in Greek culture at large. Defined as communication in which there is a recognized or acknowledged dissociation between an original speaker and his words, scripted speech is first illustrated in the message-sending scenes in the epics, in which an intermediary delivers the words of one character to another. I suggest no straightforward historical connection between the message-sending scenes in epic and the performance of a dramatic script but rather a connection based on some shared characteristics.
Acting Like Men: Gender, Drama, and Nostalgia in Ancient Greece by Karen Bassi