Spațiul teatral și fantoma extensiei. Prolegomene la o topologie a ne-locului ca heterotopie a apariției pure.

Abstract

This study undertakes a phenomenological-topological re-reading of theatrical space through Nishida Kitarō’s concept of basho (場所, place), as articulated in the 1926 essay “Basho” and the later triad surrounding “The Intelligible World.” Against the substance-metaphysics of the Western tradition – which has obsessively thematized what appears on the stage while leaving the stage itself, as the condition of appearing that never appears, in transcendental obscurity – we pursue Nishida’s inaugural gesture of ontological impoliteness: asking not what is, but wherein being is implaced. The analysis traverses the stratigraphy of nothingness (from oppositional to absolute nothingness), the destitution of the hypokeimenon in favour of the transcendent predicate, and the specular logic of a mirror without frame or reverse – a self-illuminating reflexivity without reflecting instance. Nishida’s topology is staged in critical counterpoint with the Platonic khôra and Derridean différance, Aristotle’s topos eidōn, Lask’s Gebietskategorie, Husserlian intentionality re-inscribed as residual mirroring, Heideggerʼs Lichtung, Gadamerʼs play, Deleuzeʼs plane of immanence, and Badiou’s evental site. The essay concludes by exposing the unthought temporality of basho – neither diachrony, synchrony, nor eternity – for which we propose the operative concept of adiachrony: the dis-articulated co-presence of the “no longer” and the “not yet” within the groundless ground of appearing, preparing the second movement of the study, wherein the stage will be read as the sole pure phenomenalization of the place that has no place.