This text provides a study of Jean-Martin Charcot, a founding figure in the history of neurology as a discipline and a colleague of Sigmund Freud. It argues that Charcots diagnostic and pedagogic models, explaining both how disease is recognized and described and how to teach the act of neurological diagnosis, should be considered through a theatrical lens. Considering the constitution of the living, moving body in terms of performance, Charcot created a situation whereby the line between deceptive acting and real pathology, scientific accuracy and creative falsehood, and indeed between health and unhealth, becomes blurred. The physician becomes a medical subject in his or her own display, transforming medicine into a potentially destabilizing, even grand guignolesque, discourse. Offering a unique insight into Charcots work, his concepts and his methods, this text represents a unique and interdisciplinary analysis cutting across the fields of art and neurology.
Introduction.- PART 1: PATHOLOGICAL PERFORMANCE: CONTEXTS, FRAMES AND STAGES.- 1. Theatrum Analyticum: The Stage of the Salp?tri?re and Its Players.- 2. Materializing the Archetype.- 3. Theatrical Pedagogy.- 4. The Grotesque Body and the Living Nude.- PART 2: PATHOLOGICAL PERFORMANCE IN THE CLINIC.- 5. Performing Hysterioepilepsy.- 6. Infectious Representations.- PART 3: THEATRICAL FICTIONS.- 7. Theatrical Appearances and Degenerative Synaesthesia: Munthe and Daudet.- 8. The Theatre of Horror and Dread.- Conclusion.
Marshall argues that Charcot is best understood through the lens of dramaturgy. He demonstrates the spatial and temporal implications of Charcots neurological practice as steeped in neo-classical aesthetics and deeply attuned to scenography, showmanship, and stage production. Using convincing evidence drawn from critiques of Charcot, Marshall demonstrates & that the power and danger of mixing medicine and theatrics was not lost on Charcots clS‘