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  • Series: Theatre: Theory – Practice – Performance x
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Carl Lavery

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.

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Yvette Hutchison

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.

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Unlimited action

The performance of extremity in the 1970s

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Dominic Johnson

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.

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Directing scenes and senses

The thinking of Regie

Series:

Peter M. Boenisch

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.