Titlebook: Deleuze and Beckett; S. E. Wilmer,Audron? ?ukauskait? Book 2015 The Editor(s) (if applicable) and The Author(s) 2015 Deleuze.Beckett.twent

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https://doi.org/10.57088/978-3-7329-8987-4nt mode of expression in cinema (see Deleuze, 1986; 1989). Experimental theatre also struggles to survive, with the more popular forms dominating to the extent that the momentum of avant-garde theatre is difficult to discern and exists (like time image cinema), very much at the margins. So too, the

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https://doi.org/10.1007/978-3-658-34802-1ion and self-perception? To answer these questions we have to define the new immanent ontology and to discuss, in Rosi Braidotti’s terms, ‘the ethics of becoming-imperceptible’ (Braidotti, 2006). The new understanding of life as a nonpersonal and nonorganic power requires the theory of immanent ethi

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Die systemanalytische Betrachtungn space: ‘space seemed to him to be less and less reducible to a fiction separating us from psychological reality, rather, it was itself grounded in being’ (Deleuze, 2011, p. 34). That is, Deleuze points out, from . onwards, Bergson came to see that ‘while the idea of a homogeneous space implies a s

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Die Gesundheitspolitik der Gro?en Koalitiont representation, the former makes a complex argument about a constitutive relation between the event and language while the latter argues in favour of a schism between the two. Placing these philosophical questions in the arena of theatrical performance, I would argue that instead of inverting the

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