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Jo Berry and Patrick Magee’s Facing the Enemy
Verity Combe

24 Performance practices and conflict resolution: Jo Berry and Patrick Magee’s Facing the Enemy Verity Combe It has been said that ‘for every one year of conflict we need ten years of reconciliation’.1 Contemporary conflict resolution differs from the more traditional kinds because it now emphasises post-conflict processes that generate solutions and is much more inter-disciplinary in its scope. Conflict resolution is both an academic and a practical field and a branch of international relations dedicated to alleviating and illuminating sources of conflict

in The Northern Ireland Troubles in Britain
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.

This collection of essays offers new perspectives that foster our understanding of the crucial role the Bible played in medieval culture as well as in the wake of the Reformation across Europe. The thirteen essays open up new horizons for the study of biblical drama by putting special emphasis on periodisation, the intersections of biblical narrative and performance, and the strategies employed by playwrights to rework and adapt the biblical source material. Special emphasis is placed on multitemporality, transnationality, and the modalities of performance and form in relation to the uses of the Bible in medieval and early modern drama. The three aspects are intertwined: particular modalities of performance evolve, adapt and are re-created as they intersect with different historical times and circumstances. These intersections pertain to aspects such as dramatic traditions, confessional and religious rites, dogmas and debates, conceptualisations of performance and form, and audience response – whenever the Bible is evoked for performative purposes. The collection thus stresses the co-presence of biblical and contemporary concerns in the periods under discussion, conceiving of biblical drama as a central participant in the dynamic struggle to both interpret and translate the Bible.

Representation and the real in the twentieth-century avant-gardes
Liz Tomlin

1 Discourses of resistance: representation and the real in the twentieth-century avant-gardes Before embarking on an investigation of performance practice and theory from the 1990s onwards, it is necessary to take a look back over the twentieth century at the practices and theories that laid the ground for such work and that are still visibly influential in the later period that is the focus of this study. This chapter will argue that the new performance practices that emerged in the 1990s and 2000s are predominantly categorised by artists and scholars as

in Acts and apparitions
Abstract only
Performing witnessing in a post-truth era
Amanda Stuart Fisher

witnessing begin to reveal is the diverse ways in which testimony is being adopted within many performance practices to explore different lived experience and identities. Within these new performances, testimony has been loosened from its framing as an act that retrieves a past event through Conclusion 183 a narrative form. Rather, it emerges as a dramaturgical element that interweaves with the presence of the actor’s body, dialogically working together to debate and explore the issues the production examines. By disrupting the narrative structure and chronology of

in Performing the testimonial
Open Access (free)
Caring performance, performing care
Amanda Stuart Fisher

performances can be caring, responsive and attentive but also how social, medical and ecological practices of care can be understood as being artful, aesthetic, rehearsed and performative. Correlatively, the critical discussions in this book also call for reflection on performance practices that are uncaring , that are not constructed around an affective attentiveness towards the other and that devalue relationships of interdependence; for example, practices that instrumentalise participation or that inadvertently predetermine or enforce certain narratives of change and

in Performing care
Abstract only
Liz Tomlin

Afterword If Derrida’s deconstructive imperative demonstrates the ‘counterviolence of solicitation’; that ‘every totality can be totally shaken … can be shown to be founded on that which it excludes’ (Bass, 2001: xviii), then this study has committed itself, above all, to shaking the potentially totalising narrative of radicalism that has long been applied to performance practices that seek to challenge the dramatic model of theatre. The poststructuralist imperative, I have argued, rather demands a radical practice that is not based on the reification of its own

in Acts and apparitions
Abstract only
Liz Tomlin

perspectives, that were to underpin the philosophical and political characteristics that define the historical period of this study, began to develop and inform each other in the latter part of the twentieth century. Whilst, throughout the subsequent chapters, I draw on a wide range of theoretical influences in relation to particular trends in performance practice in the 1990s and 2000s, a re-examination of the discourse of Derridean poststructuralism is most central to the book’s concerns. Discussed in detail in Chapters 2 and 3, Derrida’s project set out to deconstruct the

in Acts and apparitions
Ann Buckley

is clear from their content and topics, their structure, the extent of specific musical terminology, descriptions of performance practice (including singing and techniques of playing musical instruments), titles of tunes in some of the rubrics, and the presence of partial music notation in the form of unheighted neumes, that is, neumes on a single horizontal plane, thus not indicating the rise and fall of the melodic line. The collection also contains specific texts pertaining to music theory and to singing exercises, for some of which transcribable notation

in Aspects of knowledge
Open Access (free)
Theatre and the politics of engagement
Author: Simon Parry

This book is about science in theatre and performance. It explores how theatre and performance engage with emerging scientific themes from artificial intelligence to genetics and climate change. The book covers a wide range of performance forms from the spectacle of the Paralympics Opening Ceremony to Broadway musicals, from experimental contemporary performance and opera to educational theatre, Somali poetic drama and grime videos. It features work by pioneering companies including Gob Squad, Headlong Theatre and Theatre of Debate as well as offering fresh analysis of global blockbusters such as Wicked and Urinetown. The book offers detailed description and analysis of theatre and performance practices as well as broader commentary on the politics of theatre as public engagement with science. It documents important examples of collaborative practice with extended discussion of the Theatre of Debate process developed by Y Touring theatre company, exploration of bilingual theatre-making in East London and an account of how grime MCs and dermatologists ended up making a film together in Birmingham. The interdisciplinary approach draws on contemporary research in theatre and performance studies in combination with key ideas from science studies. It shows how theatre can offer important perspectives on what the philosopher of science Isabelle Stengers has called ‘cosmopolitics’. The book argues that theatre can flatten knowledge hierarchies and hold together different ways of knowing.