8.11.12

Simon Critchley on the Tragic and its Limits

An interview with The White Review

John Douglas Millar (The White Review) interviews philosopher Simon Critchley:
To Critchley, one attraction of tragedy lies in ‘its savage and troubling beauty, its conflict with and superiority to philosophy, and its massive and unacknowledged relevance to the contemporary psychical and political situation.’ Since the beginning of his career he has been concerned with the antagonism between literature and philosophy, telling me earlier this year that ‘Literature was always my passion. It was what philosophy was meant to serve in a sense . . . Literature was served by philosophy rather than the other way around.’ His work on tragedy may be read in this light, and can also be seen as a model for reading the present state of permanent war in which we find ourselves. In the following interview we discussed the significance of tragedy for him, his use of collaboration as a working method, and how his latest obsession has lead to the new book. [Read More]
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20.7.12

Bitesize Theatre

Alexandra Coghlan makes a case for shorter plays
Harold Pinter's One for the Road/Victoria Station, Young Vic, 2011
From The Guardian: 'The short story is a virtuoso form – think of it as the brilliant friend at a dinner party who tells a great story but doesn't outstay their welcome (the novels, meanwhile, are like those guests who plod onwards, droning on about house prices). Yet while we celebrate such technical bravura on the page, on stage the short play has never achieved the same stature. We revere the likes of Kafka, Poe, Saki and Borges primarily – if not solely – as writers of short stories, but where are the major playwrights for whom the short play is more than just an occasional dramatic away-day or bit on the side? Where, in other words, are the great short plays?' [Read More]

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