George Hunka's guest appearances

George Hunka

New Books in Literary Studies

New Books Network

New Books in Performing Arts

Patricia Bickers

Mickle Maher

Michael L. Siciliano

Gretchen E. Minton

Steve Dixon

Thornton Wilder

Howard Sherman

David Maroto

J. Lambert

Alberto Cairo

Ronald Murphy

Daniel Alexander Jones

Julia Jarcho

Volodymyr Vynnychenko

Vanita Reddy

OwlTail

George Hunka’s book Word Made Flesh: Philosophy, Eros, and Contemporary Tragic Drama (Eyecorner Press, 2011) offers a series of challenges, provocations and meditations on Theatre (with a capital “T”). It’s a valuable piece of work to wrestle with, inviting both consideration and criticism. Much of Word Made Flesh is distilled from his public musings on his website Superfluities – now Superfluities Redux. Hunka became known as an early adopter of blogging, but quickly distinguished himself from most theatre bloggers by keeping his head squarely in the world of theory, and spending as little time as possible on the “business” of theatre. His perspective is sadly rare: more interested in how plays are made and what they have to say, than how to market and fund them. Our conversation touches on the health to be found in depression, Beckett as a comedian, the idea of utility as a paradigm for art, and the audience as a collective versus the audience as an individual. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

<a href="http://www.georgehunka.com/" rel="nofollow" target="_blank">George Hunka’s</a> book <a href="http://www.amazon.com/dp/8792633080/?tag=newbooinhis-20" rel="nofollow" target="_blank">Word Made Flesh: Philosophy, Eros, and Contemporary Tragic Drama</a> (Eyecorner Press, 2011) offers a series of challenges, provocations and meditations on Theatre (with a capital “T”). It’s a valuable piece of work to wrestle with, inviting both consideration and criticism. Much of Word Made Flesh is distilled from his public musings on his website Superfluities – now <a href="http://www.superfluitiesredux.com" rel="nofollow" target="_blank">Superfluities Redux</a>. Hunka became known as an early adopter of blogging, but quickly distinguished himself from most theatre bloggers by keeping his head squarely in the world of theory, and spending as little time as possible on the “business” of theatre. His perspective is sadly rare: more interested in how plays are made and what they have to say, than how to market and fund them. Our conversation touches on the health to be found in depression, Beckett as a comedian, the idea of utility as a paradigm for art, and the audience as a collective versus the audience as an individual. Learn more about your ad choices. Visit <a href="https://megaphone.fm/adchoices" rel="nofollow" target="_blank">megaphone.fm/adchoices</a>Support our show by becoming a premium member! <a href="https://newbooksnetwork.supportingcast.fm/literary-studies" rel="nofollow" target="_blank">https://newbooksnetwork.supportingcast.fm/literary-studies</a>

George Hunka, “Word Made Flesh: Philosophy, Eros, and Contemporary Tragic Drama” (Eyecorner Press, 2011)

George Hunka’s book Word Made Flesh: Philosophy, Eros, and Contemporary Tragic Drama (Eyecorner Press, 2011) offers a series of challenges, provocations and meditations on Theatre (with a capital “T”). It’s a valuable piece of work to wrestle with, inviting both consideration and criticism. Much of Word Made Flesh is distilled from his public musings on his website Superfluities – now Superfluities Redux. Hunka became known as an early adopter of blogging, but quickly distinguished himself from most theatre bloggers by keeping his head squarely in the world of theory, and spending as little time as possible on the “business” of theatre. His perspective is sadly rare: more interested in how plays are made and what they have to say, than how to market and fund them. Our conversation touches on the health to be found in depression, Beckett as a comedian, the idea of utility as a paradigm for art, and the audience as a collective versus the audience as an individual. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

<a href="http://www.georgehunka.com/" rel="nofollow" target="_blank">George Hunka’s</a> book <a href="http://www.amazon.com/dp/8792633080/?tag=newbooinhis-20" rel="nofollow" target="_blank">Word Made Flesh: Philosophy, Eros, and Contemporary Tragic Drama</a> (Eyecorner Press, 2011) offers a series of challenges, provocations and meditations on Theatre (with a capital “T”). It’s a valuable piece of work to wrestle with, inviting both consideration and criticism. Much of Word Made Flesh is distilled from his public musings on his website Superfluities – now <a href="http://www.superfluitiesredux.com" rel="nofollow" target="_blank">Superfluities Redux</a>. Hunka became known as an early adopter of blogging, but quickly distinguished himself from most theatre bloggers by keeping his head squarely in the world of theory, and spending as little time as possible on the “business” of theatre. His perspective is sadly rare: more interested in how plays are made and what they have to say, than how to market and fund them. Our conversation touches on the health to be found in depression, Beckett as a comedian, the idea of utility as a paradigm for art, and the audience as a collective versus the audience as an individual. Learn more about your ad choices. Visit <a href="https://megaphone.fm/adchoices" rel="nofollow" target="_blank">megaphone.fm/adchoices</a>Support our show by becoming a premium member! <a href="https://newbooksnetwork.supportingcast.fm/performing-arts" rel="nofollow" target="_blank">https://newbooksnetwork.supportingcast.fm/performing-arts</a>