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Marcia Landy

reconsideration. Since the films’ uses of history were a prominent feature of their representational strategies, my object in this chapter is to examine how cinema appropriates the past so as to recognise ‘the power it holds from its shameful kinship with the makers of history and the tellers of stories’, in Jacques Rancière’s words. 12 Therefore in the films that I have chosen to discuss I probe their kinship

in Medieval film
Rethinking ‘directors’ theatre’
Peter M. Boenisch

perfect example of what French philosopher Jacques Rancière, one of several intellectual inspirations of the thinking behind the present study, terms mésentente, or dissensus. He introduces the term to describe a peculiar form of misunderstanding, which is 2 Directing scenes and senses not the conflict between one who says white and another who says black. It is the conflict between one who says white and another who also says white but does not understand the same thing by it or does not understand that the other is saying the same thing in the name of whiteness

in Directing scenes and senses
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Bryce Lease

. This positioning of the theatre as a crucial space in the public sphere is a concrete move away from the one-way relationship between theatre, audiences and critics, which renders the former as a passive object to be interpreted by the latter. As Paweł Mościcki has argued, political theatre today is not, contrary to a widespread opinion, an empty word. ‘You just need to fill it with new content, discarding old habits and unnecessary nostalgia. Activating new interactive forms of engagement’ (2008:  9). Jacques Rancière claimed that ‘politics is, above all, an

in After ’89
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Mark Robson

, does not. As Jacques Rancière notes, the Aristotelian distinction between human and animal can only be the result of a rather unlikely forgetting of Plato. In particular, it involves suppressing the passages in the Republic that are all too clear on the animalistic nature of crowds who, at the instigation of an orator, will express pleasure and displeasure. 11 Rancière argues

in The sense of early modern writing
Christine Kiehl

’s report for Les Inrockuptibles, 27 January 2009. Fabienne Pascaud, Télérama n° 3079. Ibid. Bernard Stiegler, De la Misère symbolique, La catastrophe du sensible (Paris: Galilée, 2005), pp. 281–2. Fabienne Pascaud, Télérama. H. Barker, Ces tristes lieux, pourquoi faut-il que tu y entres?, Actes Sud, 2009, p. 18. Jacques Rancière, Le Spectateur émancipé (Paris: La Fabrique éditions, 2008), p. 20. My translation of « […] les processus de production aussi bien que de consommation […] qui vise à capter et à canaliser la libido des individus, et à réduire toutes singularités

in Howard Barker’s Art of Theatre
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Emergencies and spectatorship
Sam Haddow

as somehow passive and voyeuristic, and the latter an uncomfortable thought of the ways in which spectatorial appetites  –​especially those that spectators are unwilling to admit  –​may be catered for by people who produce spectacles. I consider this latter worry in Chapter 1, in a discussion of the IS murder videos produced for western spectators. In terms of the debates around spectatorial ‘passivity’, Jacques Rancière’s The Emancipated Spectator is still one of the most valuable contributions of recent years. Rancière dismisses the ‘passive’ argument, calling

in Precarious spectatorship
Open Access (free)
Alternative pasts, sustainable futures
David Calder

Giraud, Le murmure des plantes, web, https://fr.ulule. com/murmure/ (created December 2012, last accessed November 2017).  9 The nature of that participation varies from one practice to the next, and the politics of participation are (of course) contested. See Bishop, Artificial Hells; Claire Bishop, ed., Participation (London: Whitechapel Gallery, 2006); Grant Kester, The One and the Many: Contemporary Collaborative Art in a Global Context (Durham, NC: Duke University Press, 2011); Jacques Rancière, The Emancipated Spectator (London: Verso, 2011); and Gareth White

in Street theatre and the production of postindustrial space
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Shakespeare’s brute part
Richard Wilson

speculate what kind of pedagogue he would have been. 84 If William’s queer Latin lesson is anything to go by, the dramatist’s instruction would have been like that of the eighteenth-century teacher praised by Jacques Rancière in The Ignorant Schoolmaster , who encouraged pupils to ‘get lost’ in their very confusion, rather than cramming them with knowledge and ‘having them repeat it like parrots’, on the

in Free Will
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Really existing democracy
Bryce Lease

, and I  would argue temporally bound, counterpublics to hegemonic discourses is therefore one of the primary political tasks of the theatre.6 Michael Warner has defined counterpublics as a public ‘structured by alternative discourses or protocols, making different assumptions about what can be said or what goes without saying,’ whose ‘exchanges remain distinct from authority and can have a critical relation to power’ (2002: 56). Borowski and Sugiera are invested in the notion of the ‘sensible’ elaborated in Jacques Rancière’s The Politics of Aesthetics (2004

in After ’89
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Shakespeare’s voyage to Greece
Richard Wilson

In place of the absolutist poetics and controlling ego of the self-consecrated Elizabethan penman promulgated by Sidney or Jonson, the distracted absent-mindedness of this ‘poor player’ augurs something far more modern: the potential that Jacques Rancière finds in pensiveness to deconstruct the literary text ‘in favour of an indeterminate expressive logic’; or which

in Free Will