Following Charles Segal, I argue in this essay that there is an essential textual relation to the Other at the heart of Greek tragic drama. Instead of locating the origin of tragic performance in the being of the poet and poetic truth (á la Nietzsche or Heidegger), I argue that the use of scripts in Greek tragedy indicates an irreducible graphic element of dramatic performance, which I conceptualize in terms of Blanchot's conception of the Oeurve and the impossible relation of writer and reader. The Dionysian element of tragedy, I argue, has an irreducible graphic dimension in the use of scripts and masks. Following this theoretical and historical analysis, I offer several avenues for studying the textuality of Greek tragic drama and the ways that the Greek tragic text turns toward the essence of poetry itself.

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