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out close readings of the aesthetics, the form and the workings of the text. A remarkable feature is that these very close readings lead the various critics to draw on a range of different theoretical and interpretative frameworks from within literary criticism and, importantly, beyond – from psychoanalysis to linguistics, through trauma and post-colonial studies and performance art. The critical discourse generated by these interdisciplinary forays produces fruitful and thought-provoking analyses of contemporary writing and confirms its relevance to contemporary
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.
performance art and Latin American political life. In the blurring of the line between performance and performativity, as outlined above, Taylor states that in this socio-political context, we need to understand practices such as civic disobedience, resistance, citizenship, gender, ethnicity and sexual identity, as performance , observing how they are ‘rehearsed and carried out daily in the public sphere’ (Taylor 2015 : 35). To understand them as performance is to see and recognise how performance also acts as an
Film Culture (Flicks Books, 1997), p. 11. 4 Stuart Laing, Representations of Working-Class Life: 1957–1964 (Macmillan, 1986), p. 113. 5 John Ellis, ‘Cinema as performance art’, in Justine Ashby and Andrew Higson (eds), British
-in-the-world. Entering the space of maintenance work, Ukeles employs performance art to draw undervalued labour into a space of critical aesthetic consideration. In Touch Sanitation Performance , Ukeles shook hands with 8,500 New York City sanitation workers over eleven months. Through this act, the artist-at-work met the maintenance-worker-at-work face-to-face. The importance of touch cannot be understated here: perhaps the most powerful gesture of care in Ukeles’ work is the recognition of mutual humanity, through skin-to-skin contact, with the performer of a labour perceived as
exactly like natural musk; it lacks a faecal quality. Yet this might be lost on most people who have not smelled it in its natural form. Modern perfume also involves a very different twist of space and time than what Benjamin evokes in his defini- MUP_Smith_Printer.indd 96 02/04/2015 16:18 Seeing smell 97 tion of aura. It is designed to fade, and thus might be better likened to more ephemeral media such as performance art (as author Alyssa Harad has argued), or opera (as perfumer Christophe Laudimiel has explored in his ‘scent opera’), or theatre (as the famous
Claire Cochrane and Jo Robinson (eds), Theatre History and Historiography: Ethics, Evidence and Truth (Basingstoke: Palgrave Macmillan, 2016), 147–62; Heike Roms, ‘Mind the Gaps: Evidencing Performance and Performing Evidence in Performance Art History,’ in Claire Cochrane and Jo Robinson (eds), Theatre History and Historiography: Ethics, Evidence and Truth (Basingstoke: Palgrave Macmillan, 2016), 163–81; and Rebecca Schneider, Performing Remains: Art and War in Times of Theatrical Reenactment (New York: Routledge, 2011). 7 See Jean Fourastié, Les trente glorieuses
sister Nina, his boyfriend Javier, and his ex-boyfriend Koky. Tsang performs a version of herself, ‘Wu’, which was scripted by Tsang and co-writer Rastigar.5 The Silver Platter itself, voiced by Guatemalan-American trans activist Mariana Marroquin, narrates the film. Wu and friends create a popular Tuesday night party called Wildness that combines dancing and performance art. The film explores the divisions between the bar’s Spanish-speaking regulars and the predominantly English-speaking Wildness attendees, as well as Wu’s attempts to bridge these divisions
, in the contestation of the celebration of masculinity even within the Mapuche culture. See the work of the artist Sebastian Calfuqueo, for example the performance You will never be a Weye and Alka Domo . 26 While this is not addressed in depth here, it should be noted that art, and more specifically performance art, has become an important tool for contemporary protests in different contexts worldwide (Werbner, Webb, Spellman-Poots, 2014 ; see also Mouffe 2007 ; Serafini
performance art pieces. Gerard used his authority as the only person who originally squatted the house in a way that the Dutch classify as “anti-social.” In addition to his own room, he took over the living room as his private study, often borrowed money from Allen without paying him back, stole bikes from his non-squatter neighbors, and stole from the private rooms of his housemates, understanding that no one dared to confront him. Gerard holds a more extreme opinion from his fellow squatters because he