(i)                  Overture

(ii)                Writing the Sacred

(iii)               Where to Begin with Sacred Theatre?

(iv)              Performance and Knowing
 
Chapter 2: Terminologies and Categorizations of the Sacred

(i)                  Modern Views of the Sacred

(ii)                Giorgio Agamben and the Politics of the Sacred

(iii)               Ritual

(iv)              The Sacred, Drama, Ritual and the Ancient Mystery Religions

(v)                Space

(vi)              Time

(vii)             Performance Factors

(viii)           Aesthetics

(ix)              The Absurd
 
Part 2: Text and Performance
 
Chapter 3: The Phenomenology of Nonidentity: Stoppard’s Rosencrantz and Guildenstern are Dead

(i)                  Introduction

(ii)                Liminality and Subjectivity in Theatrical Space

(iii)               Intersubjectivity in Stoppard’s Theatre

(iv)              Rosencrantz: A Void in Thought

(v)                Rosencrantz: Social Mirrors and Stage Mirrors
 
Chapter 4: Between the Opposites: Gender Games

1.1  Caryl Churchill: Cloud Nine

(i)                  Introduction

(ii)                Cloud Nine: Player/Role

(iii)               Identity and Gender

(iv)              Mindfulness

(v)                Are We Really Free?

1.2  M. Butterfly: The Phenomenology of Nonidentity and Theatrical Presence

(i)                  Introduction

(ii)                Concept of Self vs. Pure Consciousness

(iii)               Theatrical Gaps

(iv)              Identity: Machine or Witness

(v)                The Actor’s Double Entry

(vi)              Changelessness and Presence

(vii)             False Reversals

(viii)           Theatre and Metanarrative
 
Chapter 5: Ionesco
           

1.1  Rhinoceros

(i)                  Riding on the Back of Rhinos

1.2  The Chairs

(i)                  The Play’s the Thing

(ii)                Ionesco’s Working Methods

(iii)               The Chairs
 
Chapter 6: Pinter
           

1.1  The Birthday Party

6.2 Ashes to Ashes

(i)                  Pinter’s Working Methods

(ii)                Ashes to Ashes

 
Chapter 7: Genet
 

7.1 Genet’s Sacred Theatre: Practices and Politics

(i)                  Introduction

(ii)                Bataille and the A/theological Sacred

(iii)               Genet and A/theology

(iv)              Genet’s Theory of Sacred Theatre

(v)                Sacred Politics/Sacred Theatre

(vi)              Sacred Politics in the Trilogy

(vii)             Conclusion

7.2 Deconstructive Acting: Genet, Beckett, the Absurd

(i)   Genet

(ii)  Beckett
 
Part 3: Processes and Directions
 
Chapter 8: Processes

(i)                  Transitional Moments

(ii)                Absurd Leap

(iii)               Actor-training

(iv)              Physiologies

(v)                Desiring the Other
 
Chapter 9: Places, Spaces and Generative Directions; A Symposium

(i)                  Liminal or Liminoid? Turner and Grotowski

(ii)                With Rena Mirecka (1)

(iii)               Meeting Gardzienice

(iv)              Nicolás Núñez and the Taller Investigación Teatral (1)

(v)                With Rena Mirecka (2): Sardinia

(vi)              Nicolás Núñez and the Taller Investigación Teatral (2): Cura de Espantos

(vii)             The Dog’s Moments

(viii)           Performance and Sacred Space: A Polemic

(ix)              Theatre and the Wound

(x)                Facing Death

(xi)              One Rock

(xii)             Wondering

(xiii)           Full Stops to Full Stocks

(xiv)           Coda
 
Bibliography
The Authors
 
Index