In general, I’m very interested in the human experience of empathy and what it is that makes us feel kindly towards one another and what it is that is the opposite of that, which is fear. I teach dramatic literature, and my specialization is history and theory of dramaturgy and literary studies, but my work is really more wide ranging. TS: Before diving into our topic of Eugene Ionesco’s Rhinoceros, please tell us a little bit about yourself and your work as a professor of theater arts… I’m a big fan of In Dark Times, and since I am a theater-based scholar, I’m all in favor of dialogue! MC: Thanks, Tedd I’m really happy to be here. In future, we hope to have podcasting capability, but for now we are delighted to offer this interview in print. TS: Michael Chemers, welcome to In Dark Times! This is our first blog post in an interview format. Interview Part I: Ionesco’s Rhinoceros in Context Michael Chemers recent book is The Monster in Theater History: The Thing of Darkness, published by Routledge (2018). Through his writings, which have been translated into several languages, this model has become popular around the world. Michael is the founder of the ‘ Ghost Light’ model of dramaturgy : a muscular, creatively engaged, artistically vibrant approach to dramaturgy that requires thorough historical understanding, theoretical training broad and deep, and a passionate dedication to creating powerful, relevant performances of all types. Michael researches the “dramaturgy of empathy,” a wide-ranging and interdisciplinary inquiry that seeks to understand how performance culture moves ideas about compassion and kindness (and conversely, fear and hatred) through social networks. An Interview with Author and Professor Michael ChemersĪbout Michael Chemers Michael Chemers is professor of Theater Arts at UC Santa Cruz. SALVADOR DALI AT THE VINCENNES ZOO, ATTEMPTING TO PAINT A RHINOCEROS SKEWERING A VERMEER.
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