This book follows a psychologist's quest to understand one of the most curious experiences known to humankind: the universal, disturbing feeling that someone or something is there when we are alone. What does this feeling mean and where does it come from? When and why do presences emerge? And how can we begin to understand a phenomenon that can be transformative for those who experience it and yet almost impossible to put into words? The answers to these questions lie in this tour-de-force through contemporary psychology, psychiatry, neuroscience and philosophy. Presence follows Ben Alderson-Day's attempts to understand how this experience is possible. The journey takes us to meet explorers, mediums and robots, and step through real, imagined and virtual worlds. Presence is the story of whom we carry with us, at all times, as parts of ourselves.
) was also used by some critics to portray a
social-democratic utopia turned dystopian nightmare. 6
These interpretations aside, yet another image of the
writer-director emerges when one takes a closer look at Bergman’s
own works and statements. Bergman was an artist in the modernist and
cultural-radicalist tradition of AugustStrindberg and Henrik Ibsen.
This is evidenced by his attacks on social repression in those
institutions with which he was most familiar: the school in Frenzy
( Hets , 1944), the church
This chapter presents the interview between the author and US theatre
director JoAnne Akalaitis. She is the founder of the influential avant-garde
theatre company Mabou Mines. In this interview, they talk about two widely
praised productions of Jean Genet's work, The Balcony with the
American Repertory Theatre in Cambridge, Massachusetts in 1985-1986, and
The Screens at the Tyrone Guthrie Theatre, Minneapolis in
1989-1990. Genet is the first western playwright to write about Arabs and a
revolutionary culture in a way that is not clichéd or necessarily easy to
swallow. Genet, like August Strindberg, empowers women in a way that very
few playwrights do. He understood the first African rebellions, and the
revolutions in the Third World. He's one of the great modern political
playwrights: there's no doubt about that.
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.
is a blend of bourgeois
fin-de-siècle and a rural style, a blend which we can recognize
from several stage productions of Strindberg from the beginning of the
twentieth century onwards. The kitchen, a crucial meeting point for the
characters in this drama, is old-fashioned, and there is a pantry door
that is taken directly from Strindberg’s drama Dreamplay ;
also, the ventilation hole in the shape of a four-leaf clover is one of
Bergman’s ways of establishing contact with his mentor. The name
retrieved from the past. At other times, they represent our fears for, and
of, the future, or our anxieties about an inability to protect the vulnerable,
The collapsing house
given the precarious state of the world. Precariousness is both a prevalent
theme in the plays and a key characteristic of the form in which the
theme is communicated to an audience. In theatre it is always the present
moment, and yet the moment constantly vanishes. Three of the playwrights
I consider – J. B. Priestley, AugustStrindberg and Caryl Churchill –
were/are particularly intrigued by
mimicked her, and at one
point—unpleasantly—she felt it embrace her. Like the presences of PH, or
AugustStrindberg, this shadow figure was not her, but its movements were inextricably tied
to her own. What had produced this phantom?
The answer to this question seems likely to lie in the integration of
signals from several different parts of the brain. The TPJ doesn’t handle sensory or
motor signals itself; in fact, the TPJ is one of the points of the brain that is the
farthest away from our primary sensory or
, but also received the thus far largest support grant – 2.2 million kroner – from the EU media programme, Greco, as well as funding from various Nordic media funds.’ J. Stevenson, Lars von Trier (London: BFI, 2002), p. 78.
Y. Leffler, I skräckens lustgård. Skräckromantik i svenska 1800-talsromaner (Göteborg: Göteborgs universitet, 1991); H. Johnsson, Strindberg och skräcken. Skräckmotiv och identitetstematik i August
shorter-lived series titled ‘Grenzfragen der Literatur und Medizin’ (‘Inter
secting Issues of Literature and Medicine’), published between 1906
and 1908, with volumes on the pessimistic dramatist Christian Grabbe;
Swedish playwright, novelist and poet AugustStrindberg; and American
Romantic writer Edgar Allan Poe.28 In these modern pathographies, the
biographies of artists serve to illustrate medical phenomena and classifications, again with very little or no consideration of the creative oeuvre.
Thus the attempt to educate readers through depicting and humanising