Words, Space, and the Audience (PDF)

Michael Y. Bennett is Associate Professor of English and affiliated faculty in Philosophy at the University of Wisconsin-Whitewater, USA, where he teaches courses on modern drama. He is the author of: Reassessing the Theatre of the Absurd (2011/2013); Words, Space, and the Audience (2012); Narrating the Past through Theatre (2012). He is the editor of Refiguring Oscar Wilde s Salome (2011) and the co-editor of Eugene O'Neill's One-Act Plays (2012). He is also Editor of The Edward Albee Review.

'Through thoughtfully researched and engagingly argued case-studies, Bennett accomplishes two overlapping aims: to offer new readings of these canonical works and, more significantly, to develop a heuristic for considering the key question from reception theory [i.e., 'how does meaning get made in the theatre?'] as it relates to modern dramatic texts . . . In all, these chapters were an exemplum of new historicism in the ways they discussed the interplay and interdependence of philosophy, history, politics, and drama . . . The reason that Bennett's argument proves so effective is that he carefully traces the tensions between empiricism and rationalism . . . Because of this, Bennett's argument has far-reaching implications for considering other dramatic texts and for theatrical performance . . . Words, Space, and the Audience is a welcome addition to the field of reception theory.' - Journal of Philosophy: A Cross-Disciplinary Inquiry

"Complex notions of individual subjectivity are the subject of Michael Y. Bennett's Words, Space, and the Audience: The Theatrical Tension between Empiricism and Rationalism, which includes a chapter on Wilde's Salome and The Importance of Being Earnest . . . Bennett situates Wilde's work within Victorian debates over Hegelian idealism and British materialism, demonstrating how the two plays explore ontology and the notion of the self." - The Year's Work in English Studies

"Michael Y. Bennett's Words, Space, and the Audience provokes investigation into what will hopefully become more complex cross-fertilization between histories of philosophy and drama . . . this book provides substantive insight into histories of plays and playwrights . . . Overall, Bennett dares to ask difficult questions about the relationships between histories of thought and drama, and shows there is still much answering to be done." - Theatre Survey

"Bennett's work proves to be a valuable contribution for charting the overlap between