This book is dedicated to a conceptual exploration of the thinking of Regie: of how to think about theatre direction, and how Regietheater thinks itself. The focus is on what directing does, and what directing can do, tapping into and realising the potential of what theatre does and may do. Part I of the book outlines the social, ideological, political, cultural and aesthetic contexts of Regie, and some of its core intellectual and conceptual roots, by circumventing some standard reference points. Philosophical ideas and concepts of situating Regie within the Rancièrian 'aesthetic regime of art' and its specific 'partition of the sensible' are explained. The book specifically links Regie to Georg Hegel's influential thought, maintaining that Regie expresses a cultural dynamic of making sense and making sensible. The book presents the respective positions of Friedrich Schiller and Leopold Jessner, symptomatically capturing central trajectories of thinking the conceptual space of Regie, both mobilising the speculative dynamics of theatral thinking. Part II of the book explores the contested notion of 'the truth of the text', and the dialectic sublation of the play-text in play-performance. It looks at the mediation which the double-edged act of thea affords, with its emphasis on both performing and spectating, marked by the Žižekian notion of the 'parallax perspective'. The overarching political potential inherent in Regie and the very formal structure of theatre offer a playfully excessive resistance to the dominant logic of economy, efficiency, sustainability and austerity which defines present-day global neoliberal semiocapitalism.
Since the early 2000s, Russia’s most innovative theatre artists have increasingly
taken to incorporating material from real-life events into their performance
practice. As the Kremlin’s crackdown on freedom of expression continues to
tighten, playwrights and directors are using documentary theatre to create space
for public discussion of injustice in the civic sphere and its connections to
the country’s twentieth-century past. This book traces the history of
documentary theatre’s remarkable growth in Russia since its inception in 1999
and situates the form’s impact within the sociopolitical setting of the Putin
years (2000–). It argues that through the practice of performing documents,
Russia’s theatre artists are creating a new type of cultural and historical
archive that challenges the dominance of state-sponsored media and invites
individuals to participate in a collective renegotiation of cultural narratives.
Drawing on the author’s previous work as a researcher, producer, and performer
of documentary theatre in contemporary Russia, Witness Onstage offers original
insight into the nature of the exchange between audience and performance as well
as new perspectives on the efficacy of theatre as a venue for civic
Street theatre and the production of postindustrial space explores how street theatre transforms industrial space into postindustrial space. Deindustrializing communities have increasingly turned to cultural projects to commemorate industrial heritage while simultaneously generating surplus value and jobs in a changing economy. Through analysis of French street theatre companies working out of converted industrial sites, this book reveals how theatre and performance more generally participate in and make historical sense of ongoing urban and economic change. The book argues, firstly, that deindustrialization and redevelopment rely on the spatial and temporal logics of theatre and performance. Redevelopment requires theatrical events and performative acts that revise, resituate, and re-embody particular pasts. The book proposes working memory as a central metaphor for these processes. The book argues, secondly, that in contemporary France street theatre has emerged as working memory's privileged artistic form. If the transition from industrial to postindustrial space relies on theatrical logics, those logics will manifest differently depending on geographic context. The book links the proliferation of street theatre in France since the 1970s to the crisis in Fordist-Taylorist modernity. How have street theatre companies converted spaces of manufacturing into spaces of theatrical production? How do these companies (with municipal governments and developers) connect their work to the work that occurred in these spaces in the past? How do those connections manifest in theatrical events, and how do such events give shape and meaning to redevelopment? Street theatre’s function is both economic and historiographic. It makes the past intelligible as past and useful to the present.
This edited collection is the first to engage directly with Foucault’s thought on
theatre and with the theatricality of his thought. Michel Foucault was not only
one of the most controversial and provocative thinkers of the twentieth century,
he was also one of its most inventive and penetrating researchers. Notoriously
hard to pin down, his work evades easy categorisation – philosopher, historian
of ‘systems of thought’, ‘radical journalist’ ‒ Foucault was all of these
things, and so much more. In what some see as a post-critical landscape, the
book forcefully argues for the urgency and currency of Foucauldian critique, a
method that lends itself to theatrical ways of thinking: how do we understand
the scenes and dramaturgies of knowledge and truth? How can theatre help
understand the critical shifts that characterised Foucault’s preoccupation with
the gaze and the scenographies of power? Above all, what makes Foucault’s work
compelling comes down to the question he repeatedly asked: ‘What are we at the
present time?’ The book offers a range of provocative essays that think about
this question in two ways: first, in terms of Foucault’s self-fashioning – the
way he plays the role of public intellectual through journalism and his many
public interviews, the dramaturgy of his thinking, and the appeal to theatrical
tropes in his work; and, second, to think about theatre and performance
scholarship through Foucault’s critical approaches to truth, power, knowledge,
history, governmentality, economy, and space, among others, as these continue to
shape contemporary political, ethical, and aesthetic concerns.
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 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.
This book explores the place of memory in post-apartheid South Africa by analysing state sanctioned-performances of the nation. It first explores how the Truth and Reconciliation Commission (TRC) archive was created, and what it means to contemporary South Africa. The book then explores creative responses to the TRC. It examines individual narratives that have become iconic; asking why these have been chosen to represent the experiences of the broader majority. It analyses how contemporary cultural practitioners are particularly exploring various non-realistic, highly performative forms in conjunction with verbatim narratives to reflect on diverse lived realities in South Africa. The inherited apartheid archives embody particular narratives of South Africa, especially those that defined separate cultural identities, with their relative worth and histories. The way these archives of memory were constructed and controlled is important, especially insofar as they affected the social structure of the nation, beyond apartheid legislation. The book looks at how at moments of political crisis or transition, specific narratives of history, from particular cultural perspectives, have been performed in public spaces to define national identities. It also explores how Mbeki used the South Africa-Mali project, within the context of the New Partnership for Africa's Development (NEPAD) to extend the imagined boundaries of the nation. Finally, the book explores contemporary popular performance and theatrical engagements with history and memory.
Jean Genet has long been regarded as one of the most influential artists of the
twentieth century. Since the publication of Jean-Paul Sartre's existential
biography Saint Genet: Actor and Martyr in 1952, his writing has attracted the
attention of leading French thinkers and philosophers. In the UK and US, his
work has played a major role in the development of queer and feminist studies,
where his representation of sexuality and gender continues to provoke
controversy. This book aims to argue for Genet's influence once again, but
it does so by focusing uniquely on the politics of his late theatre. The first
part of the book explores the relationship between politics and aesthetics in
Genet's theatre and political writing in the period 1955 to 1986. The
second part focuses on the spatial politics of The Balcony, The Blacks and The
Screens by historicising them within the processes of modernisation and
decolonisation in France of the 1950s and 1960s. The third part of the book
analyses how Genet's radical spatiality works in practice by interviewing
key contemporary practitioners, Lluís Pasqual, JoAnne Akalaitis, and Ultz and
Excalibah. The rationale behind these interviews is to find a way of merging
past and present. The rationale so explores why Genet's late theatre,
although firmly rooted within its own political and historical landscape,
retains its relevance for practitioners working within different geographical
and historical contexts today.
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.
Unlimited action concerns the limits imposed upon art and life, and the means by which artists have exposed, refused or otherwise reshaped the horizon of aesthetics and of the practice of art, by way of performance art. It examines the ‘performance of extremity’ as practices at the limits of the histories of performance and art, in performance art’s most fertile and prescient decade, the 1970s. This book recounts and analyses game-changing performance events by six artists: Kerry Trengove, Ulay, Genesis P-Orridge, Anne Bean, the Kipper Kids and Stephen Cripps. Through close encounters with these six artists and their works, and a broader contextual milieu of artists and works, Johnson articulates a counter-history of actions in a new narrative of performance art in the 1970s, to rethink and rediscover the history of contemporary art and performance.