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

does offer the potential for distinctions between orders of the real and can be used as the basis for determining the diverse ideological implications of a range of work that appears to deny the notion of objective reality and advocate the conflation of fact with fiction. Chapter 6 will continue to explore performance environments that break down the dichotomy of performer/spectator and seek to replace mediated representations with experiential realities. With reference to the avant-garde practice that still underpins the recent resurgence of interactive and

in Acts and apparitions
Experiential challenges to the medium of theatrical representation
Liz Tomlin

established, a subjective and experiential reality over which they have sole authorship. In this, de Certeau’s thinking follows that of the Situationists who, as Carl Lavery notes rejected conventional forms of artistic expression and instead explored alternative, non-alienated modes of creativity [...] The principal technique used was la dérive or drift, a planned walk in which a small group of adepts would consciously set out to register the psychogeographic effects or ambiences of certain areas and sites in the city. Drifting exemplified what the Situationists called

in Acts and apparitions
Open Access (free)
John Robert Keller

not so directly. Though, of course, I have a general theoretical orientation, Keller_01_Intro 2 23/9/02, 10:45 am 3 Introduction elaborated in Chapter 1, I try to be led by the textual material, rather than let theory lead the reading. For me, Beckett has been immensely valuable in elaborating primal experiences that lie at the core of human experience, and his work evaporates the boundaries between psychology and art. I hope the overall reading demonstrates a certain experiential reality in the texts, one that is not theory-dependent, but that encourages new

in Samuel Beckett and the primacy of love
Catherine Laws

silence Beckett and unheard sound 177 encompasses its own implicit paradoxes; the impossibility of the absolute cessation of the voice, the inaccessibility of silence as an experiential reality, and the simultaneous desiring and fear of that experience, born of uncertainty as to what ‘real silence’ might mean: death? the void? some other purgatorial form of nothingness? Hélène Baldwin focuses on the Unnamable’s incessant revolving of this ambivalent yearning and its inexpressibility: ‘that’s not the real silence, it says that’s not the real silence, what can be said

in Beckett and nothing
Scott, Banim, Galt and Mitford
Damian Walford Davies

Patmos, as suggested by rhetorical echoes of the Book of Revelation in his opening chapter. But he also insists that his journey into the future is an experiential reality. He describes his dead-alive state in medical and material detail and claims to have had concrete, not just visionary, experiences in the year 2023; among other things, he marries and leaves an unborn child behind (or ahead?) in the future. Banim’s volume of essays thus takes on a novelistic dimension and becomes a science-fiction story about time travel. Like Mary Shelley’s The Last Man (1826), this

in Counterfactual Romanticism
David Geiringer

the Church in the process of change’. 3 They also reveal the oversights and assumptions that left this process ultimately unrealised. The interviewees repeatedly identified Humanae Vitae as the principal example of the Church’s inability to grasp the experiential realities of marital sexuality. Sorcha explained that ‘it just showed the world how the Church did not know

in The Pope and the pill
Britishness, Englishness, London and The Clash
Conrad Brunström

famous graffito associated with the band was daubed on one of its supporting concrete pylons.4 The Westway marks the eastern extremity of a highway intended to carry cars as far as Oxford and Birmingham, and to invite motorists from far-flung regions to drop in to the inner-city neighbourhood of Marylebone with dramatic abruptness. This chapter will argue that the experiential reality of this environment informs the achievement of The Clash not just thematically or sociopolitically but rhythmically. Dropping in facilitates dropping out. Notting Hill is not a place

in Working for the clampdown
Richard Jenkins

(the same) real, embodied individuals, their actual behaviour, and their products. This tells us that it is only possible, or sensible, to separate the individual and the collective – the particular and the general, the biographical and the historical – for analytical and presentational purposes. The observable and experiential realities of the human world suggest that individuals and the collective ‘more-than-the-sum-of-the-parts’ co-habit, in some sense that has thus far proved to be sociologically elusive; and for which it is certainly difficult to find

in Human agents and social structures
Abstract only
Will Jackson

intimates most forcefully the expansiveness of all that we do not. Most intriguingly, the figure of Anita Burkitt represents the convergence of mental illness as a discursive construct and as an experiential reality. We know what Roland Burkitt thought about mental health and illness; we do not know the feelings of his wife. Such silences are replicated in much historical writing of Kenya. While research

in Madness and marginality