Hazarding All

Demonstrates how theatre and theatricalisation serve as the indispensable means for creating a kind of consciousness that exits as an unmediated encounter with actuality.

Philosophers speak of newly accessed ways of knowing reality as epistemological shifts. This book demonstrates how Shakespeare effected a massive shift of just this kind in his bold management of theatricalisation itself. These pages levy on terms of Kant and Husserl that they elaborated in proposals for such shifts. It will be seen that Shakespeare exceeds the proposals of the philosophers. He anticipates and already brings to a working consummation a systematic and immediate access to the ways of knowing reality that they contemplate as hoped-for desiderata. In, and through, the drama of consciousness played out in the pairs of plays examined here, the playwright and the spectator together intersubjectively attain to an onlooker consciousness that exits the fictionality, the play-acting, of theatricalisation; and they are enabled to recover the actuality of objects in their worlds.

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