Theatre

Broken Glass by Arthur Miller

By Arthur Miller

Set in Brooklyn, this gripping secret starts whilst appealing, level-headed Sylvia Gellburg by surprise loses her skill to stroll. the one clue to her mysterious disease lies in her obsession with information money owed from Germany.

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The extra-linguistic experience of the self beyond the duality of attributes cannot be rendered through narrative, for in reflecting non-intentional consciousness, it contains no objects to be related. From a constructivist view, as we have seen, Gary Fireman notes that “Narrative does not merely capture aspects of the self for description, communication, and examination; narrative constructs the self” (2003: 5). Fireman also claims that “the portions of human consciousness beyond the purely somatic—self-awareness, self-understanding and self-knowledge—are products of personal narratives” (4).

This decontingencing constitutes a move from their cultural or intersubjective and social or interobjective contexts toward pure, non-intentional subjectivity in the upper left quadrant, a move that subtly creates a more integral awareness in Stanley and the audience as they sense a unity of the silence of consciousness and the activity of the mind. The Unsayable in Theatre The unsayable inner dimension The Birthday Party points to through its decontingencing devices centers on what Jean Baudrillard calls postmodern simulacra, the work of simulation, as distinct from feigning or pretending.

Not so much the greed to acquire and possess, not the gathering of wealth in its material, tangible sense, as the excitement of a new and unprecedented sensation is the name of the consumer game. Consumers are first and foremost gatherers of sensations; they are collectors of things only in a secondary and derivative sense. (1998: 83, original emphasis) Goldberg and McCann pursue the commodity of human conformity to their organization, with their sensation or bliss consisting of depriving others of their independence and freedom.

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