Search results

Discourses on the real in performance practice and theory, 1990–2010
Author: Liz Tomlin

This book examines how new performance practices from the 1990s to the present day have been driven by questions of the real and the ensuing political implications of the concept's rapidly disintegrating authority. The first part of the book addresses the existing poststructuralist narrative of radicalism that currently dominates contemporary performance theory, and seeks to deconstruct its conclusions. It first traces the artistic and philosophical developments that laid the ground for the sustained twentieth-century interrogations of theatrical representations of the real. It examines the emergence of the discursive act which aligned the narrative of radicalism exclusively with such interrogations. The book also examines how key strands of Derrida's poststructuralist critique have been applied to performance practice to strengthen the ideological binary opposition between 'dramatic' representations of the real and 'postdramatic' deconstructions of representational practice. The second part of the book embarks on an ideological examination of a wide spectrum of performance models that share an engagement with the problematics of representation and the real. It directs this investigation specifically towards an analysis of the representations of 'real' people in performances which adopt verbatim methodologies drawn from the documentary theatre tradition. The book continues to explore performance environments that break down the dichotomy of performer/spectator and seeks to replace mediated representations with experiential realities.

Abstract only
Liz Tomlin

analysis of the representations of ‘real’ people in performances which adopt verbatim methodologies drawn from the documentary theatre tradition. Looking at performances that include Recorded Delivery’s The Girlfriend Experience, National Theatre of Scotland’s Aalst and Paper Birds’ Others, I analyse the frameworks created by diverse strategies of representation, and examine the ideological implications of the aesthetic constructions of ‘the real’ people who are the source material of the work. From this perspective, the chapter explores the seemingly paradoxical rise of

in Acts and apparitions
Abstract only
The origins of Russian documentary theatre
Molly Flynn

to European documentary theatre traditions as they have developed primarily in Germany and the UK since the interwar period. German directors Erwin Piscator and Bertolt Brecht in the 1920s, as well as Peter Weiss and Heinard Kipphardt in the 1960s, made invaluable contributions to the development of documentary theatre forms. Their works laid the foundation for further innovation in the genre by British artists Alecky Blythe, Peter Cheeseman, David Hare, Nicolas Kent, Richard Norton Taylor, Robin Soans, and others in the 1980s, 1990s, and early 2000s. While the

in Witness onstage