Role Playing and Identity: The Limits of Theatre as Metaphor.

Acknowledgments Prologue Part One: Theatre and the Reality of Appearance I. What Is Theatre? II. What Is Phenomenology? III. of Enactment IV. of Appearance V. Variations On The Theatrical Theme of Standing In and Authorization 1. The of Oedipus Rex and the World of Its Theatre 2. The of Hamlet and the World of Its Theatre 3. The of Waiting for Godot and the World of Its Theatre 4. Summary of the Variations and the Nature of a Text VI. Theatre as Metraphor and Play As Disclosure VII. Second Set of Variations on the Theatrical Theme of Standing In and Authorization 1. Eugene Ionesco and the Potentiality of Being-with-Others in Roles-Fallenness 2. Robert Wilson and the Potentiality of Projection of Possibility-Understanding 3. Jerzy Grotowski and the Potentiality of Attunement to the World-Mood VIII. Theatre and the Question of the Truth of Part Two: Reality and the Self IX. Space, Time, and Identity of Self X. Self as Body-Self XI. Body-Self and Others: Cognition, Expression, Mimetic Response, and Transformation XII. Body-Self, Other Body-Selves, and Self-Deception XIV. Identity and Theatre-Like Disengagement From Engulfment XV. Existence and Art: Self as Memorializaing Structure of Possibilities XVI. Summary and Prospects: Identity of Self Part Three: The Limits of Appearance and the Limits of Theatrical Metaphor XVII. Theatre as Metaphor XVIII. The Truth of and the Limits of Theatre as Metaphor XIX. The Limits of Theatrical Metaphors 1. The Art of Life 2. Erving Goffman's Role Theory XX. The Limits of Appearance Index