Carlson's Argument With The Concept Of Originality In The Haunted Stage

The Search for Originality in Performance

In this paper I will be providing examples to support and to argue with the concept of originality. I will be doing this by using Marvin Carlson’s interpretation of originality in the Haunted Stage, and supporting it with the concept of intertextuality. To expand my argument I will then introduce how those who believe in the concept of originality attempt to be original by moving away from contemporary aristotelian drama towards post-modernism. This is supported by performances like Pina Bausch’s Lilies of the Valley. Through further development I will then attempt to convey how Carlson’s belief that originality does not exist is solely based on the belief that you cannot have performance

Which, by Carlson’s definition should create originality but through further analysis lacks the emotional impact and reflection needed within theatre. Finally, I will provide a solution to the problem of originality by providing an example of a performance that is original while using sign to create new meaning.

The concept of originality provokes the mind. Is one being original or is one mimicking the thoughts, ideas and feelings of the past? For example, I am writing this with words with previously created meanings, put together with letters, which were made in the past. Therefore, am I being original or am I just creating something built on the memory of the past. The concept of originality has been long debated argument especially within the context of theatre. Although many scholars disagree on the concept of originality, some would argue that plays and theatre itself are ghosted by previous elements or experiences. This in fact is what is argued in the Haunted Stage, by Marvin Carlson. In it he argues that plays and theatre are shaped by memory, and are a reflection of the cultural and historical process itself. He uses examples of historical moments that mimic the