the same questions: the hospitality of the performance stage can be just as conditional as that of the asylum system itself.
Hélène Cixous, in her notes for the programme of Le Dernier Caravansérail,
a 2003 performance by the French company Théâtre du soleil, conceives of
the theatre stage as another place where hospitality can be exerted. However,
this hospitality, in order not to be conditioned by repressive logics of appropriation and subjection, must be reflexive: Cixous presents the show with an
introduction titled ‘How not to …’, a series of questions seeking
that he cut out for himself in the forest of
modernity, the Cyclops for Joyce is not a figure of deprecation, but on the contrary one
to be admired and emulated, a sovereign god-like authority who makes decisive actions
that shape the historical, political and cultural landscape by virtue of his will to power.
16 Developing Derrida, Cixous (1976) says that ‘phallogocentrism’ is the operative
principle of culture that is male-dominated. Just as the phallus is implicitly (or explicitly) assumed to be the only significant sexual organ, the masculine is accepted as the