DIRECTING
POIESIS New York: Peter Lang Publishing 1993.
•
Contents •
Preface •
Origins •
Mimesis-Aesthesis-Poiesis. • Epilogue
•
Directing Poiesis,
addresses the art of theatre and its relevance to society
from theoretical, aesthetic, ethical, social, historic,
cultural, and political perspective. In fact, Directing
Poiesis, which can be easily called also “Poiesis
is Creating,” is deeply grounded in aesthetics
and the philosophy of art. At the core of its argument
is the most important question in philosophy of art:
what is art? This book is inspired by Aristotle’s
Poetics and Politics, Kant’s Aesthetics, Schelling’s
Philosophy of Art, Nietzsche’s Apollonian and
Dionysian origin of art, Ernst Bloch’s principle
of hope, Kostas Axelos’s ideas on playfulness,
Antionio Gramshi’s views on culture and society,
and many other philosophers. Peter Lang Publishing from
New York published the book in 1993.
ENDORSMENTS
“…At last someone has put the director at
the center stage. Panovski's treatment forces us to
"look again" as we watch the twentieth-century
revolution of the theatre takes place”
Robert W. Corrigan, The University of Texas
at Dallas
“Directing
Poiesis is deeper, wiser and more truly artistic in
its outlook than the usual texts in the field of theatre.
It presents a coherent overview of the whole history
and theory of directing from its earliest beginning
to the present moment, and establishes solid classifications
so as to organize and differentiate the different forms,
styles and periods It does not lose its commitment for
its higher purpose in its pursuit of creative detail
and excellence...The more thoughtful books on performance
theory by writers like Herbert Blau or Richard Schechner,
excellent though they are, assume a knowledge of the
history and theory of directing and do not have the
scope of Panovski’s work…A book like Directing
Poiesis could become a classic.”
Fred Turner, The University of Texas at Dallas
“…
’Directing Poiesis’ is a beautifully lucid
book with everything in its place… What lifts
it several notches above books similar to it, is Naum’s
own particular ‘tone of voice’ which issues
under every chapter giving it a very distinctive flavor.
Naum is clearly saturated with theatre and that ‘saturation’
emits wholesome vapors throughout the work.”
Charles Marowitz, Back Stage
“…This
book on directing theory is a brilliant testament to
the depth and complexity of Naum’s theatre concepts.”
Roland Reed. Playwright and Director, Catholic
University of America
