Notes
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4 Ibid., p. 19. 5 H. Müller, Heiner Müller Material, ed. by F. Hörnigk, Göttingen: Steidl Verlag, 1989, p. 50. 6 I introduced the opposition (and correspondence) of predramatic and postdramatic theatre in my Theater und Mythos, p. 2. 7 P. Stefanek, ‘Lesedrama? – Überlegungen zur szenischen Transformation “bühnenfremder” Dramaturgie’, in E. Fischer-Lichte (ed.), Das Drama und seine Inszenierung: Vorträge des internationalen literatur- und theatersemiotischen Kolloquiums Frankfurt am Main 1983, Tübingen: M. Niemeyer, 1985, pp. 133–45. 8 M. Esslin, An Anatomy of Drama, New York: Hill and Wang, 1977, 3rd printing 1979, p. 14. 9 See M. Kirby, A Formalist Theatre, Philadelphia: University of Pennsylvania Press, 1987. 10 V. Turner, On the Edge of a Bush, Tucson: University of Arizona Press, 1985, p. 300ff. 11 J.-F. Lyotard, “The Tooth, the Palm”, in T. Murray (ed.), Mimesis, Masochism and Mime, pp. 282–8, here p. 282. 12 Ibid., p. 287. 13 Ibid. 14 A. Artaud, The Theatre and Its Double, trans. by M. C. Richards, New York: Grove Press, 1958, p. 13. 15 See T. W. Adorno, Aesthetic Theory, trans. by C. Lenhardt, ed. by G. Adorno and R. Tiedemann, London: Routledge and Kegan Paul, 1984, passim; and T. W. Adorno and M. Horkheimer, Dialectic of Enlightenment, London and New York: Verso, 1997, esp. pp. 180–3 (in ‘Elements of Antisemitism’) and p. 227 (in ‘A Theory of Crime’), where Adorno refers to R. Caillois, Le Mythe et l’homme, Paris: Gallimard, 1938, p. 125ff. 16 Adorno, Aesthetic Theory, p. 399. 17 See Szondi, Theory of the Modern Drama, especially pp. 7–10, and P. Szondi, An Essay on the Tragic, trans. by P. Fleming, Stanford, CA: Stanford University Press, 2002. 18 H.-T. Lehmann, ‘Dramatische Form und Revolution in Georg Büchner’s “Dantons Tod” und Heiner Müller’s “Der Auftrag”’, in P. von Becker et al. (eds), Dantons Tod: Die Trauerarbeit im Schönen: Ein Theater-Lesebuch, Frankfurt am Main: Syndikat, 1980, pp. 106–21, here p. 107. 19 Schumacher, cited in Lehmann, ‘Dramatische Form und Revolution’, p. 106. 20 Aristotle, Poetics, trans. with an introduction and notes by M. Heath, London: Penguin, 1996, p. 7. 21 Ibid., p. 14. 22 Ibid., p. 12. 23 C. Menke, Tragödie im Sittlichen: Gerechtigkeit und Freiheit nach Hegel, Frankfurt am Main: Suhrkamp, 1996. 24 Ibid., p. 42. 25 G. W. F. Hegel, Aesthetics: Lectures on Fine Art, 2 vols, trans. by T. M. Knox, Oxford: Clarendon Press, 1975, here vol. 1, p. 517. 26 Ibid., vol. 2, p. 1,218. 27 Menke, Tragödie im Sittlichen, p. 45. 28 P. de Man, Die Ideologie des Ästetischen, Frankfurt am Main: Suhrkamp, 1993, p. 54. 29 G. W. F. Hegel, Phenomenology of Spirit, trans. by A. V. Miller with analysis of the text and foreword by J. N. Findlay, Oxford: Clarendon Press, 1977, p. 443. 30 Hegel, Ästhetik, Werke, vol. 13, Frankfurt am Main: Suhrkamp, 1986, as cited in Menke, Tragödie im Sittlichen, p. 51. 31 Menke, Tragödie im Sittlichen, p. 54f. 32 The German term Doppelbödigkeit is derived from the theatre, meaning literally ‘having a double floor’. 33 Menke, Tragödie im Sittlichen, p. 51.