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 is a social history of northern soul. It examines the origins and development of this music scene, its clubs, publications and practices, by locating it in the shifting economic and social contexts of the English midlands and north in the 1970s. The popularity of northern soul emerged in a period when industrial working-class communities were beginning to be transformed by deindustrialisation and the rise of new political movements around the politics of race, gender and locality. The book makes a significant contribution to the historiography of youth culture, popular music and everyday life in post-war Britain. The authors draw on an expansive range of sources including magazines/fanzines, diaries, letters, and a comprehensive oral history project to produce a detailed, analytical and empathetic reading of an aspect of working-class culture that was created and consumed by thousands of young men and women in the 1970s. A range of voices appear throughout the book to highlight the complexity of the role of class, race and gender, locality and how such identities acted as forces for both unity and fragmentation on the dance floors of iconic clubs such as the Twisted Wheel (Manchester), the Torch (Stoke-on-Trent), the Catacombs (Wolverhampton) and the Casino (Wigan).
, for example, East Asia, in Southern, Central and Eastern Europe, or the Caribbean and Latin America – including Brazil – as well as much of the Ottoman and Arab world – and no doubt elsewhere. What is common to these places is not H. D., D. H., T. S. or even E. P., but a far more Continental, mostly French, corpus. 30 To be clear, the goal of such a claim is not to capture modernism for French patrimony, but precisely to dis-identify French-language literature from the French nation-state – or even the institution of Francophonie. 31 Emphasizing the idea of French
The challenge of the sublime argues that the unprecedented visual inventiveness of the Romantic period in Britain could be seen as a response to theories of the sublime, more specifically to Edmund Burke’s Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful (1757). While it is widely accepted that the Enquiry contributed to shaping the thematics of terror that became fashionable in British art from the 1770s, this book contends that its influence was of even greater consequence, paradoxically because of Burke’s conviction that the visual arts were incapable of conveying the sublime. His argument that the sublime was beyond the reach of painting, because of the mimetic nature of visual representation, directly or indirectly incited visual artists to explore not just new themes, but also new compositional strategies and even new or undeveloped pictorial and graphic media, such as the panorama, book illustrations and capricci. More significantly, it began to call into question mimetic representational models, causing artists to reflect about the presentation of the unpresentable and the inadequacy of their endeavours, and thus drawing attention to the process of artistic production itself, rather than the finished artwork. By revisiting the links between eighteenth-century aesthetic theory and visual practices, The challenge of the sublime establishes new interdisciplinary connections which address researchers in the fields of art history, cultural studies and aesthetics.
Extending the critique of Bauman’s first exposition of postmodernity and postmodernism
with modernity; as Bell
had recognised, many modernist movements were critical of bourgeois society, and this became particularly clear after the carnage
of the First World War. According to Harvey, there were differences
between the temper of modernism in Europe and America (Harvey
1991: 27), with Europeanmodernism being more anti-bourgeois,
though art historians have pointed out that many of the American
modernists who became prominent in the 1950s had already been
involved with an art critical of the Depression-era America of the
1930s (Harris 1993: 3).
passage of the modern movement to
that of Attila, sweeping across Europe.23 It had left many of its key
figures grasping at fragments. Writing in 1918, Ford tried to reassemble the ‘fragments’ that were coming into his mind, ‘as in a cubist
picture’, in narrative.24 His most famous narrator struggles to give an
‘all-round impression’ as he tortuously and retrospectively constructs
multiple examples of the ‘minutest fragment’ of the truth.25 Woolf,
too, in Orlando, tries to work with the ‘thousand odd, disconnected
fragments’ thrown up by
much to the chagrin of designers, architects and design reformers, who
despaired of its ‘bad design’. The ideas of the Modern Movement in architecture and design were promulgated by design reform organisations such
as the Design and Industries Association (DIA) and an influx of European
émigré architects and designers in Britain. However, Lancaster’s cartoons
suggested that the influence and appeal of Modernism was limited due to
what he and other critics perceived as the conservatism of the builders
who catered to suburbia and those who lived there.
Ralph Hotere and ‘New Commonwealth Internationalism’
institutional discourse as well as an aesthetic imperative (the
politicisation of late modernism). This institutionalisation was
first manifested in the independent gallery sector, through
establishments like the New Vision Group, formed by South African
artist Denis Bowen and dedicated to promoting abstract artists from
Commonwealth countries alongside European tachism
with realism, four with intuitionist modernism.
European Film Theory and Cinema was, therefore, a book about
intuitionist modernist realism, rather than a conventional
‘introduction’ to film theory.
In addition to this intuitionist modernist and realist
orientation, European Film Theory and Cinema also attempted a twofold
stratagem of recuperation and elision. The effort at recuperation was