The Philosophical Theatre of Theodosis Pelegrinis
DOI:
https://doi.org/10.37130/8n9tqc06Keywords:
Theodosis Pelegrinis, philosophy, philosophical theatre, post-dramatic theatre, Descartes, Sartre, Bergson, Spinoza, comparative methodAbstract
Theodosis Pelegrinis, whose most recent works are the subject of this study, is considered a restless spirit of his time, a multifarious personality unafraid to venture into a multitude of fields simultaneously. His love for philosophy and contemplation of humanity and the world represents the driving force behind his every endeavour. His study of the lives, writings, and theories of ancient and modern philosophers serves as a source of inspiration and the main material for writing articles, philosophical essays, and theatrical plays. At the same time, Pelegrinis’ involvement in theatre naturally derived from his philosophical and spiritual quests, which sought the practical harmonisation of the art of drama with philosophy. The aim of this study is to demonstrate, through the presentation of four new plays by Pelegrinis, the intrinsic relationship between theatre and philosophy as interconnected and complementary domains. His works – The Girl- King: and the Inglorious End of Descartes1, Lens Maintainer: The Living Profession of Baruch/ Benedict Spinoza2, The Fatal Exit of Professor Henri Bergson3, and Accidental Loves: and Some Other Aspects of the Life and Work of the Existentialist Jean-Paul Sartre4 – will serve as the basis for a brief yet in-depth review of the philosophical theatre, its history, and its main principles, and, ultimately, through a comparative analysis, as an assessment of whether the theatrical work of Pelegrinis meets the requirements of the philosophical theatre.
References
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