different sorts of performative manifestations, and
by contemplating ( theor-ising ) them, portrays the multiplicity of
forms and shapes theatre could assume, before later eras
compartmentalised and institutionalised them within specific, fixed
architectural and social spaces.
Nonetheless, our inclusive notion of theatre is narrowed
down by a specific agenda: we study theatre as a connective instrument
course, by a self-appointed wall-flower
at the comic cotillion.
As Jaques’ case confirms, such a sense of tragic
subjectivity remains intrinsically individualizing, an expression of
amputation from the social body. By contrast, the social bonds and
structures typical of comic play-worlds, whatever resistance they may
initially oppose to individual initiative – the pursuit of