Abstract: Don DeLillo’s , which was never staged and whose stageworthiness was once dismissed by the author, is nonetheless a fundamental precursor to DeLillo’s exploration of dramatic form as embodied action. This essay interprets the play through emplacement and embodiment, analyzing its use of stage space, its characters’ interactions, and the tension between verbal and nonverbal codes. The play, I argue, interrogates the idea of embodiment and the desire for disembodiment, expressed in strategies of asceticism and prosthetic memory. These underscore the work’s dramatic potential and its meditation on performance, presence, embodiment, and language.
Paula Martín-Salván (Tue,) studied this question.