Dorothy Chansky is Director of the Humanities Center at Texas Tech University, where she also teaches history, theory, and criticism in the School of Theatre and Dance. Her publications include Kitchen Sink Realisms: Domestic Labor, Dining, and Drama in American Theatre (Iowa 2015) and Food and Theatre on the World Stage (Routledge 2015), co-edited with Ann Folino White. She writes criticism for New York Theatre Wire and edits Theatre Annual: A Journal of Theatre and Performance of the Americas.
Open peer commentary on the article “Audience and Eigenform: Cybersemiotic Epistemology and the “Truth of the Human Spirit” in Performance” by Tom Scholte. Upshot: Truthfulness, for both actors and their audiences, emerges at the intersection of physiology and social embeddedness, according to Scholte’s argument for the importance of parsing eigenforms. But an understanding of this process on the part of actors and embedding it in their training cannot alone effectuate the social change for which Scholte calls absent change in what is presented in visible, mainstream venues in productions willing to deploy analogous progressive insights and techniques.
Clarke B. & Chansky D. (2016) Audience and Autopoiesis. Constructivist Foundations 11(3): 610–612. Fulltext at https://cepa.info/2890
Open peer commentary on the article ““Black Box” Theatre: Second-Order Cybernetics and Naturalism in Rehearsal and Performance” by Tom Scholte. Upshot: Scholte’s approach to theater as a black box to be probed indicates that the vocabulary of second-order cybernetics provides an analytical repertoire adequate to the complexity of theatrical phenomena, from the construction of the play in rehearsal to the delivery of the play in performance. While it was hard to discern the precise details in some of Scholte’s experimental protocols, we found his larger discussion to be provocative and effective in mapping the recursivities of theatrical processes.