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Living spirituality

Between 1598 and 1800, an estimated 3, 271 Catholic women left England to enter convents on the Continent. This study focuses more particularly upon those who became Benedictines in the seventeenth century, choosing exile in order to pursue their vocation for an enclosed life. Through the study of a wide variety of original manuscripts, including chronicles, death notices, clerical instructions, texts of spiritual guidance, but also the nuns’ own collections of notes, this book highlights the tensions between the contemplative ideal and the nuns’ personal experiences. Its first four chapters adopt a traditional historical approach to illustrate the tensions between theory and practice in the ideal of being dead to the world. They offer a prosopographical study of Benedictine convents in exile, and show how those houses were both cut-off and enclosed yet very much in touch with the religious and political developments at home. The next fur chapters propose a different point of entry into the history of nuns, with a study of emotions and the senses in the cloister, delving into the textual analysis of the nuns’ personal and communal documents to explore aspect of a lived spirituality, when the body, which so often hindered the spirit, at times enabled spiritual experience.

David J. Appleby

/55, fos 48–50, quoted in Miller, After the Civil Wars, p. 183. 13 CSPD 1660–1, pp. 538–9. 14 Pepys, Diary, iv, p. 163, and iii, pp. 166–8. 15 Exact Collection, p. 367; Hancock, Pastor’s Last Legacy, sig. [A3v]; Jenkyn, Burning Yet Un-consumed Bush, preface. 16 Master Edmund Calamy’s Leading Case, p. 12. 17 Third Volume, p. 18. 18 Compleat Collection, sig. [Aav]. 19 Bremer and Rydell, ‘Performance art?’, p. 52; J. Walter, Understanding Popular Violence in the English Revolution (Cambridge, 1999), pp. 175–6. 20 Lye, Fixed Saint, pp. 1–2. 21 Evelyn quoted in Spurr

in Black Bartholomew’s Day
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Mechtild Widrich

-specific project. The long process by which postwar performance art first challenged and then revived the public monument as an open-ended, collaborative scenario, explored in my book Performative Monuments , showed how performers, like sculptural objects and architectural structures, can engage spectators in concrete, but often delegated acts of commemoration. The body is significant to the materialization of history, and as such it recurs in later chapters of this book. For now, the challenge is to fit specific bodies

in Monumental cares
Questions of mimesis, authorship and representation
Liz Tomlin

focus on the ‘dramatic’ as the postdramatic’s ‘other’, too often encourage the division of theatre practice into an either/or binary configuration. Yet, as Jerzy Limon observes in his historical overview of theatrical precedents to the postdramatic from the medieval theatre to the court masque, ‘what Lehmann understands as the dramatic theater is in fact just one of many theatrical trends, which did not predominate in all periods’ (Limon, 2011: 261). Moreover, whilst Lehmann does specifically detach performance art from the theatre umbrella altogether, there is little

in Acts and apparitions
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The origins of Russian documentary theatre
Molly Flynn

is dedicated to formal experimentation in performance art and has produced a number of groundbreaking events, including Lisovskii’s ever-changing, roaming performance piece Neiavnye vozdeistviia (Unapparent Influences, 2016). Named ‘the most radical theatre project of the year’ by the newspaper Vedomosti, Unapparent Influences leads audience members on an improvisational and interactive journey through the city that recalls the work of Swiss-German performance art group Rimini Protokol and represents a first for performance art in twenty-first-century Russia. The

in Witness onstage
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Patrick Duggan

taken of this man, from different angles and, judging from the difference in the elevation of his arms, at different times. There were numerous other images put into circulation at the same time as this one, but it was the photograph of this hooded figure which was to become ‘the lead icon’, as Adrian Kear puts it, of the released images (2005: 114). Žižek comments on the theatrical nature of the images, stating that when he first saw the ‘ridiculously theatrical pose’ of the hooded, electrode-laden prisoner, he thought it was ‘a shot from the latest performance-art

in Trauma-tragedy
Erin Silver

practices by BIPOC (Black, Indigenous, Person of Colour) artists, queer artists, and women artists, while many others diverged from conventional histories of modernism and postwar artistic mediums to present Los Angeles’s participation in histories of experimental film and video, performance art, and collective and collaborative practices. This event provocatively challenged the mainstream singular view of Los

in Taking place
Art and feminist performance politics in Yugoslavia
Jasmina Tumbas

international reputation for performance art, in large measure due to the respect garnered by Raša Todosijević, Zoran Popović, Neša Paripović, Gergelj Urkom, Abramović, and Era Milivojević, artists known as the Group of Six, who Blažević supported through her curatorial leadership. Other women leaders and organizers included Biljana Tomić and Bojana Pejić. Tomić had a history of organizing ephemeral and performative works at the Belgrade International Experimental Theater Festival (BITEF), a curatorial objective she later continued at the SKC. Experimentation and highly

in “I am Jugoslovenka!”
Jenny Valentish

to inflict ultraviolence upon one another – and, let’s face it, on themselves. With the staple gun, he’s demonstrating that such antics are far more painful outside of the ring, or ‘the theatre in the round’, as he calls it (of which Barthes would surely approve). In the real world, adrenaline and endorphins are disappointingly slow to flow. He’s had to get creative with pain lately. While trudging the road to recovery – which means avoiding wrestling – he’s developed some performance-art routines for burlesque clubs, such as The Twelve Unnecessarily Violent Days

in Everything harder than everyone else
‘The Platonic differential’ and ‘Zarathustra’s laughter’
Mischa Twitchin

’s phantasy of ‘presence’. But if the reverse-Platonic performance art of the 1960s concerns the ‘mask of these masks’, 18 what kind of mask or persona might become the ‘worldly’ philosopher – traditionally distinct from both artist and actor (Nietzsche notwithstanding) – as a figure of and for their ‘voice’? Is it possible to ‘translate

in Foucault’s theatres