Theatre of Senses ‘Against Interpretation’: Sensual Imagery and Imagist Language in Sarah Ruhl’s Eurydice
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The essay examines the American playwright Sarah Ruhl’s image-oriented aesthetics in Eurydice (2003), a quasi-mythical play that explores bereavement from the heroine’s perspective, in light of Susan Sontag’s seminal essay “Against Interpretation”. Unlike conventional realist drama that heavily relies on ideas and language, the play employs poignant imagery and vivid poetic language as the primary means of communication with the audience. In tandem with a plethora of visual and auditory elements, including water, stones, music, and natural and unusual sounds, the highly poetic quality of the language spoken by the characters, which displays the characteristics of Imagism, provide a profound sensual and emotional experience for the audience. As an American play, Eurydice not only challenges the mimetic and hermeneutic tendency of modern American drama since the advent of Ibsenian realism but also demonstrates the affective power of theatre. As a piece of art, the play answers Sontag’s call to “recover our senses” and illustrates what art is in its essence; without its sensual appeal, art is as good as dead.
Abstract
The essay examines the American playwright Sarah Ruhl’s image-oriented aesthetics in Eurydice (2003), a quasi-mythical play that explores bereavement from the heroine’s perspective, in light of Susan Sontag’s seminal essay “Against Interpretation”. Unlike conventional realist drama that heavily relies on ideas and language, the play employs poignant imagery and vivid poetic language as the primary means of communication with the audience. In tandem with a plethora of visual and auditory elements, including water, stones, music, and natural and unusual sounds, the highly poetic quality of the language spoken by the characters, which displays the characteristics of Imagism, provide a profound sensual and emotional experience for the audience. As an American play, Eurydice not only challenges the mimetic and hermeneutic tendency of modern American drama since the advent of Ibsenian realism but also demonstrates the affective power of theatre. As a piece of art, the play answers Sontag’s call to “recover our senses” and illustrates what art is in its essence; without its sensual appeal, art is as good as dead.
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