The dramas of knowledge
Foucault’s genealogical theatre of truth
in Foucault’s theatres
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact for pricing options.


If you have an access token for this content, you can redeem this via the link below:

Redeem token

Drawing upon ‘The Scene of Philosophy’, Foucault’s interview with Moriaki Watanabe in 1978, this chapter analyses Foucault’s conceptual use of theatrical tools and patterns. It first explores Foucault’s dramatising style of writing as a philosophical device to intensify hidden possibilities of historical events – and it compares this approach to what Gilles Deleuze calls the ‘method of dramatization’. It then examines the specifics of the theatrical gaze, which refuses to clearly separate truth from falsehood, and the genealogical and Nietzschean dimensions of what Foucault calls the Western ‘theatre of truth’. The chapter closes with an analysis of the Belgian play It’s my life and I do what I want. La brève histoire d’un artiste européen du XXe siècle by Guy Dermul and Pierre Sartenaer, in light of Foucault’s arguments: this play, by refusing to differentiate truth from fiction, can be considered as exemplifying a theatrical production of knowledge.


All Time Past Year Past 30 Days
Abstract Views 28 28 2
Full Text Views 0 0 0
PDF Downloads 0 0 0