appropriations of the theatrical. From there, the
chapter moves to a more general, and conceptual, analysis of the interconnections between the platform and the stage which argues for an understanding
of theatre as a deep, generative structure which makes radical politics possible.
This analysis draws heavily on the work of JacquesRancière, particularly his
concept of ‘primary aesthetics’.
As Malcolm Chase’s and Robert Poole’s contributions to this collection
demonstrate, there are multiple interconnections between the theatre and
radical politics in the early nineteenth
This book explores the development of Robert Lepage’s distinctive approach to stage direction in the early (1984–94) and middle (1995–2008) stages of his career, arguing that globalisation had a defining effect in shaping his aesthetic and professional trajectory. It combines examination of Lepage’s theatremaking techniques with discussion of his work’s effects on audiences, calling on Lepage’s own statements as well as existing scholarship and critical response. In addition to globalisation theory, the book draws on cinema studies, queer theory, and theories of affect and reception. As such, it offers an unprecedented conceptual framework, drawing together what has previously been a scattered field of research. Each of six chapters treats a particular aspect of globalisation, using this as a means to explore one or more of Lepage’s productions. These aspects include the relationship of the local (in Lepage’s case, his background in Québec) to the global; the place of individual experience within global late modernity; the effects of screen media on human perception; the particular affect of ‘feeling global’; the place of branding in contemporary creative systems; and the relationship of creative industries to neoliberal economies. Making theatre global: Robert Lepage’s original stage productions will be of interest to scholars of contemporary theatre, advanced-level undergraduates with an interest in the application of theoretical approaches to theatrical creation and reception, and arts lovers keen for new perspectives on one of the most talked-about theatre artists of the late twentieth and early twenty-first centuries.
The major part of this book project was funded by the European Union’s Horizon 2020 research and innovation programme under the Marie Sklodowska-Curie grant agreement No. 700913. This book is about two distinct but related professional cultures in late Soviet
Russia that were concerned with material objects: industrial design and
decorative art. The Russian avant-garde of the 1920s is broadly recognised to
have been Russia’s first truly original contribution to world culture. In
contrast, Soviet design of the post-war period is often dismissed as hackwork
and plagiarism that resulted in a shabby world of commodities. This book
identifies the second historical attempt at creating a powerful alternative to
capitalist commodities in the Cold War era. It offers a new perspective on the
history of Soviet material culture by focusing on the notion of the ‘comradely
object’ as an agent of progressive social relations that state-sponsored Soviet
design inherited from the avant-garde. It introduces a shared history of
domestic objects, handmade as well as machine-made, mass-produced as well as
unique, utilitarian as well as challenging the conventional notion of utility.
Situated at the intersection of intellectual history, social history and
material culture studies, this book elucidates the complexities and
contradictions of Soviet design that echoed international tendencies of the late
twentieth century. The book is addressed to design historians, art historians,
scholars of material culture, historians of Russia and the USSR, as well as
museum and gallery curators, artists and designers, and the broader public
interested in modern aesthetics, art and design, and/or the legacy of socialist
: Persons and Politics. Ithaca, NY: Cornell
University Press, 2011.
15 Frantz Fanon, Black Skin, White Masks. Translated by Charles Lam
Markmann. London: Pluto, 1986: 109.
16 Stultification is JacquesRancière’s term: JacquesRancière, The Ignorant
Schoolmaster: Five Lessons in Intellectual Emancipation. Translated by
Kristin Ross. Stanford, CA: Stanford University Press, 1991.
EDKINS 9781526119032 PRINT.indd 11
artistic expression. This viewing position is
a reminder that the video installation is a quasi-philosophical form with its
legacy in theatrical conceptualism as well as ontological models of film and
performance that have been informed by a diversity of critical theories, such
as those articulated by Rey Chow and Shu-mei Shih, whose work addresses
cinema and Chineseness, but also aligns with the feminist perspectives of
Trinh T. Minh-ha and Teresa de Lauretis and the philosophical influences of
Maurice Merleau-Ponty, Henri Bergson, and JacquesRancière. Chang offers
This book explores contemporary urban experiences connected to practices of sharing and collaboration. Part of a growing discussion on the cultural meaning and the politics of urban commons, it uses examples from Europe and Latin America to support the view that a world of mutual support and urban solidarity is emerging today in, against, and beyond existing societies of inequality. In such a world, people experience the potentialities of emancipation activated by concrete forms of space commoning. By focusing on concrete collective experiences of urban space appropriation and participatory design experiments this book traces differing, but potentially compatible, trajectories through which common space (or space-as-commons) becomes an important factor in social change. In the everydayness of self-organized neighborhoods, in the struggles for justice in occupied public spaces, in the emergence of “territories in resistance,” and in dissident artistic practices of collaborative creation, collective inventiveness produces fragments of an emancipated society.
modes of social organisation; and this is critical for any
movement seeking social change. JacquesRancière writes:
Within any given framework, artists are those whose strategies aim to change
the frames, speeds and scales according to which we perceive the visible, and
combine it with a specific invisible element and a specific meaning. Such strategies are intended to make the invisible visible or to question the self-evidence
of the visible.11
Art is at the heart of such strategies because of its capacity to offer alternative
ways of seeing and knowing and
Precarious objects is a book about activism and design. The context is the changes in work and employment from permanent to precarious arrangements in the twenty-first century in Italy. The book presents design interventions that address precarity as a defuturing force affecting political, social and material conditions. Precarious objects shows how design objects, called here ‘orientation devices’, recode political communication and reorient how things are imagined, produced and circulated. It also shows how design as a practice can reconfigure material conditions and prefigure ways to repair some of the effects of precarity on everyday life. Three microhistories illustrate activist repertoires that bring into play design, and design practices that are grounded in activism. While the vitality, experimental nature and traffic between theory and praxis of social movements in Italy have consistently attracted the interest of activists, students and researchers in diverse fields, there exists little in the area of design research. This is a study of design activism at the intersection of design theory and cultural research for researchers and students interested in design studies, cultural studies, social movements and Italian studies.
In this broad sweep, Mayo explores dominant European discourses of higher education, in the contexts of different globalisations and neoliberalism, and examines its extension to a specific region. It explores alternatives in thinking and practice including those at the grassroots, also providing a situationally grounded project of university–community engagement. Signposts for further directions for higher education lifelong learning, with a social justice purpose, are provided.
remind us that, for moral perfectionism, the act of interpreting is
prioritized over the interpretation. By, then, reading this claim
alongside the work of JacquesRancière, I will emphasize his
claim that spectators are always already engaged in such
interpretation, but too often do not trust the legitimacy or
authority of their own interpretation over that of others