ask how, and whether, an Emersonian, solitary connection to the landscape might be reconciled with a wider network of care, which recognises human interdependence with each other as well as the wider, natural world.
The literary orphan and the ethic-of-care
The nineteenth century, as Nina Auerbach explains, was as an era of ‘orphan worship’ in the English novel, from Dickens to Eliot to Thackeray to the Brontës (Auerbach 411; Mills 227; Peters 24). Although mortality rates were high, and a significant
of their show The Grandchildren of Hiroshima , and the other a drama workshop programme for Year 1 (five-year-old) primary schoolchildren called Speech Bubbles. The third example comes from a performance of Ruff (2013) by Peggy Shaw and directed by Lois Weaver. In my engagement with these examples, I demonstrate how arts practices can produce or strengthen important interdependent social relations between groups and communities. By foregrounding these relationships in performance these projects invite us to recognise the importance of interdependence within
Syrian displacement and care in contemporary Beirut
Ella Parry- Davies
image of depressed passivity’ because ‘the alternative is to portray refugees as […] angry, as active agents of change’ ( 2012 : 139). Though the postcards do at times show anger in the children, there is also agency in their performances of humour, affection and care. I suggest, then, that resistance and subversion are not the only means by which agency might be expressed. Recognising the varied conditions within which people can manifest ethical or political action points towards the social value of interdependence. 6 The children’s photographs are funny, tender
brings into play others
of Waller’s Restoration and Protectoral panegyrics, and in so doing, I suggest, he advances an attack that ranges more broadly than the immediate
moral and political shortcomings of the late Caroline court. Marvell’s
attack argues, I think, for a debilitating interdependence between the
predominantly romance mode of Wallerian panegyric and the failures of
English maritime power and court ideology.
In thinking of Restoration panegyric as primarily romance in mode,
I draw on Epic Romance, an important and wide-ranging study in which
function that is important
in ensuring stability in the wider world. The complex social structures in such
a world are always clearly adumbrated in this drama, with the family as the
smallest unit of an integrated social world placed in a realised geographic
locality and based upon economic interdependence. Locale is created through
reference to recognisable neighbourhoods: to the length and time it takes to
move around them, to the kind of people
Thanks to the Incarnation, Una participates in the nature of God. It is in accordance with this that she has a strongly Trinitarian aspect. Her identification with the Trinity is made most obvious through the House of Holiness, which is inhabited by three quasi-divine matrons and an overlapping, generally younger, triad. Una is also identified with the Trinity through her affiliation with the medieval figure of Sapience, as treated in the Horologia Sapientiae of Henry Suso. Una’s three animals suggest Christ as God Incarnate, reflecting the interdependence of the doctrine of the Trinity and the doctrine of the Incarnation of Christ—which are proclaimed, respectively, in the first and second of the Thirty-Nine Articles.
This chapter contains a collection of gothic texts between 1706 and 1750 connected with supernaturalism. It is a commonplace that Gothic writing developed in reaction against the rules of neo-classical criticism. The aim of John Dennis's treatise as a whole was to show the necessary interdependence of religion and poetry, and the importance of strong emotions in both. Shakespeare saw how useful the popular superstitions had been to the ancient poets: he felt that they were necessary to poetry itself. Although William Collins ostensibly eschews the use of 'false themes' for himself, his emotive treatment of the supernatural material he recommends to Home makes him a precursor of the Gothic novelists. In the 1790s, Ann Radcliffe frequently cited his poetry in her fiction and journals.
Responding to the resurgence of verbatim theatre that emerged in Britain, Australia, the United States and other parts of the world in the early 1990s, this book offers one of the first sustained, critical engagements with contemporary verbatim, documentary and testimonial dramaturgies. Offering a new reading of the history of the documentary and verbatim theatre form, the book relocates verbatim and testimonial theatre away from discourses of the real and representations of reality and instead argues that these dramaturgical approaches are better understood as engagements with forms of truth-telling and witnessing. Examining a range of verbatim and testimonial plays from different parts of the world, the book develops new ways of understanding the performance of testimony and considers how dramaturgical theatre can bear witness to real events and individual and communal injustice through the re-enactment of personal testimony. Through its interrogation of different dramaturgical engagements with acts of witnessing, the book identifies certain forms of testimonial theatre that move beyond psychoanalytical accounts of trauma and reimagine testimony and witnessing as part of a decolonised project that looks beyond event-based trauma, addressing instead the experience of suffering wrought by racism and other forms of social injustice.
This book is about science in theatre and performance. It explores how theatre and performance engage with emerging scientific themes from artificial intelligence to genetics and climate change. The book covers a wide range of performance forms from the spectacle of the Paralympics Opening Ceremony to Broadway musicals, from experimental contemporary performance and opera to educational theatre, Somali poetic drama and grime videos. It features work by pioneering companies including Gob Squad, Headlong Theatre and Theatre of Debate as well as offering fresh analysis of global blockbusters such as Wicked and Urinetown. The book offers detailed description and analysis of theatre and performance practices as well as broader commentary on the politics of theatre as public engagement with science. It documents important examples of collaborative practice with extended discussion of the Theatre of Debate process developed by Y Touring theatre company, exploration of bilingual theatre-making in East London and an account of how grime MCs and dermatologists ended up making a film together in Birmingham. The interdisciplinary approach draws on contemporary research in theatre and performance studies in combination with key ideas from science studies. It shows how theatre can offer important perspectives on what the philosopher of science Isabelle Stengers has called ‘cosmopolitics’. The book argues that theatre can flatten knowledge hierarchies and hold together different ways of knowing.
performances can be caring, responsive and attentive but also how social, medical and ecological practices of care can be understood as being artful, aesthetic, rehearsed and performative. Correlatively, the critical discussions in this book also call for reflection on performance practices that are uncaring , that are not constructed around an affective attentiveness towards the other and that devalue relationships of interdependence; for example, practices that instrumentalise participation or that inadvertently predetermine or enforce certain narratives of change and