Mark Robson

What does it mean to think of the work of Michel Foucault in terms of what I am calling here critical dramaturgy? There might appear to be a certain redundancy in underlining the critical, since from as early as Lessing’s Hamburgische Dramaturgie (1767–79), the critical dimension of dramaturgy has been insistently reinforced. For Lessing

in Foucault’s theatres

This edited collection is the first to engage directly with Foucault’s thought on theatre and with the theatricality of his thought. Michel Foucault was not only one of the most controversial and provocative thinkers of the twentieth century, he was also one of its most inventive and penetrating researchers. Notoriously hard to pin down, his work evades easy categorisation – philosopher, historian of ‘systems of thought’, ‘radical journalist’ ‒ Foucault was all of these things, and so much more. In what some see as a post-critical landscape, the book forcefully argues for the urgency and currency of Foucauldian critique, a method that lends itself to theatrical ways of thinking: how do we understand the scenes and dramaturgies of knowledge and truth? How can theatre help understand the critical shifts that characterised Foucault’s preoccupation with the gaze and the scenographies of power? Above all, what makes Foucault’s work compelling comes down to the question he repeatedly asked: ‘What are we at the present time?’ The book offers a range of provocative essays that think about this question in two ways: first, in terms of Foucault’s self-fashioning – the way he plays the role of public intellectual through journalism and his many public interviews, the dramaturgy of his thinking, and the appeal to theatrical tropes in his work; and, second, to think about theatre and performance scholarship through Foucault’s critical approaches to truth, power, knowledge, history, governmentality, economy, and space, among others, as these continue to shape contemporary political, ethical, and aesthetic concerns.

Biblical plays between Czech drama and English comedy in early modern Central Europe
Pavel Drábek

specifics of the early seventeenth-century biblical play in Central Europe. These are a fusion of transnational influences; a specific dramaturgy interweaving heterogeneous plots, and something between a literal and a figurative enactment of the Scriptures, to which the quotation in the title refers – the character of ‘Samson carrying a figure’, a symbolic or metaphorical meaning. My particular focus is on three contemporaneous plays: the Czech plays Ruth (1604) and Samson (1608), and Comœdia von der Königin Esther und Hoffertigen Haman (Comedy of Queen Esther and

in Enacting the Bible in medieval and early modern drama
Lyly’s elusive theatre (1583–c.1590)
Andy Kesson

fairies. These scenes must have been exceedingly difficult to produce, but the company apparently felt them to be absolutely indispensable. This chapter asks questions about Lyly’s onstage worlds to determine his impact on early modern dramaturgy, both as represented in the theatre and in the printed versions of his plays. It also shows ways in which this dramaturgy suggests

in John Lyly and Early Modern Authorship
Double Ariel in the Royal Shakespeare Company’s The Tempest (2017)
Anchuli Felicia King

interplay between traditional dramaturgies and the innate, often concealed dramaturgies of technical systems themselves (software, hardware or mechanical). Rather than viewing these as two separate dramaturgies, ‘technodramaturgy’ views these two disciplines as an interlocked body of dramaturgies, feeding each other in an iterative loop. By deconstructing the technical systems used to render Ariel's avatar, I hope to demonstrate how processes of iterative technodramaturgy can lead to theatrical discoveries, and in so doing, I defend the use of this burgeoning technology

in Shakespeare and the supernatural
Paul Whitfield White

Calvinist terms, using the hybrid dramaturgy blending human and allegorical characters then favoured by Protestant interludes. The pageant wagon for its 1566 performance, featuring a Garden of Eden decorated with exotic fruits and other wares imported from abroad and sold by the sponsoring guild, the Grocers, shows how this affluent guild combined a devotional aim with middle-class Protestant entrepreneurship. At Coventry the New Testament cycle underwent Protestant revisionism as well. Coventry appears to have written new religiously Reformed pageants in the early 1560s

in Enacting the Bible in medieval and early modern drama
W. G. Sebald and contemporary performance practices
Simon Murray

itself. What is significant here is that the relationship in these pieces to Sebald is well beyond a curiosity with his subject matter. For the purpose of this account, however, it is a conscious association and affinity with Sebald’s writing as a register of form, dramaturgy and mode of composition that seems an equally vital part of the relationship. WRITING AGAINST – AND AROUND – THE GRAIN The danger in trying to establish commonalities and connections between the compositional strategies of a most particular writer and the practices of contemporary performance

in A literature of restitution
‘The Platonic differential’ and ‘Zarathustra’s laughter’
Mischa Twitchin

– literally more Greek than Latin – between the theatrical and the philosophical? Here we are engaged with a paradox. For the humanist world of theatrical analogy, with its metaphysically grounded ethical concerns with relations between face and mask, nature and artifice, itself conforms to a Platonic dramaturgy. This mundane theatre adheres to an interpretative

in Foucault’s theatres
Abstract only
Solo performance in neoliberal times
Author: Stephen Greer

This book is a study of solo performance in the UK and Western Europe since the turn of millennium that explores the contentious relationship between identity, individuality and the demands of neoliberalism. With case studies drawn from across theatre, cabaret, comedy and live art – and featuring artists, playwrights and performers as varied as La Ribot, David Hoyle, Neil Bartlett, Bridget Christie and Tanja Ostojić – it provides an essential account of the diverse practices which characterise contemporary solo performance, and their significance to contemporary debates concerning subjectivity, equality and social participation.

Beginning in a study of the arts festivals which characterise the economies in which solo performance is made, each chapter animates a different cultural trope – including the martyr, the killjoy, the misfit and the stranger – to explore the significance of ‘exceptional’ subjects whose uncertain social status challenges assumed notions of communal sociability. These figures invite us to re-examine theatre’s attachment to singular lives and experiences, as well as the evolving role of autobiographical performance and the explicit body in negotiating the relationship between the personal and the political.

Informed by the work of scholars including Sara Ahmed, Zygmunt Bauman and Giorgio Agamben, this interdisciplinary text offers an incisive analysis of the cultural significance of solo performance for students and scholars across the fields of theatre and performance studies, sociology, gender studies and political philosophy.

Marc Geddes

Bevir and Rhodes’ work. In particular, I take inspiration from the literature on dramaturgy. References to politics and drama are ubiquitous: summits between heads of government are described as taking place on the ‘world stage’; discussions between political factions often take place ‘off-stage’; politicians need to be able to give a good ‘performance’ when delivering keynote speeches; Prime

in Dramas at Westminster