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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.

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Liz Tomlin

performance practice in the twenty-first century. Acts of discourse and apparitions of the real In part one of this study, ‘The Discursive Act’, I will address the existing poststructuralist narrative of radicalism that currently dominates contemporary performance theory, and seek to deconstruct its conclusions. In Chapter 1, which acts as an extended introduction to this study, I will trace the artistic and philosophical developments that laid the ground for the sustained twentieth-century interrogations of theatrical representations of the real, and examine the emergence

in Acts and apparitions
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Ugly subjects in early modern England
Naomi Baker

depend ‘on any material thing’, he claims: ‘this ‘I’, that is to say, the soul through which I am what I am, is entirely distinct from the body … and even if there were no body at all, it would not cease to be all that it is’. 10 Observing such philosophical developments, alongside the rise of mechanical philosophy and a new emphasis on anatomical dissection, critics have suggested that this was an era

in Plain ugly
Charles Gaines by way of conclusion
Nizan Shaked

that of the individual artist/genius figure, the latter being a central notion in the definition of art as a tool of self-expression. The philosophical developments that altered the meaning of the subjective have also problematised our current understanding of the idea of objectivity. That the artistic choices made by Gaines (here as a model for all other Conceptual artists) were cerebral did not necessarily make them objective, or the opposite of subjective. Poststructuralism has offered us modes of understanding subjectivity and identity in ways that did not

in The synthetic proposition
Louise Fuller

mainland Europe had been in decline since the turn of the nineteenth century. In the post-​war period, political, social and philosophical developments led to a questioning of traditional Catholic theology and a sense that it was not responsive to the kind of challenges posed by a rapidly changing world. In many more secularised countries, reforms in liturgical practice and new initiatives in church architecture were undertaken to address   41 Revisiting the faith of our fathers these changes. For the most part, the Irish Church saw little necessity to engage with

in Tracing the cultural legacy of Irish Catholicism
Sabine Doering-Manteuffel and Stephan Bachter

containing these kinds of messages were Lutheran preachers.11 They preached about God’s signs of wrath not only from the pulpit, but also via the text-picture medium sold at markets throughout the Protestant states. The technique was taken up by publishers in Frankfurt, Strasburg, Leipzig and Augsburg.12 As these Lutheran theories about miracle signs began to dissipate towards the end of the seventeenth century, and the educated belief in miracles diminished due to new scientific and philosophical developments, the reports of miracle signs began to lose their religious

in Beyond the witch trials
Clive Cazeaux

overturned. What could be a greater indication of the potential of eco-art than the realisation that any item in the world, no matter how seemingly insignificant, can be the ground for artistic, ecological enquiry? While this presents existential crisis as a positive philosophical development, it still leaves us in the dark as to how an eco-art project might proceed. The existentialist answer is to recognise that Da-sein is a being-there, a being surrounded by conditions that are always, already active and under way. The problem is not mine alone, where ‘mine’ is taken to

in Extending ecocriticism
Morny Joy

Grene registers one version of a classical objection to Descartes’ position, particularly with reference to later philosophical developments: Most philosophers have abandoned the traditional God as the guarantor of knowledge, yet they retain the notion of the ‘real distinction’ to which only God’s veracity could give metaphysical or even solid epistemological support and fails to recognise the richer bodily being of mental life that marks, not an abstract and outworn vision of the world, but the texture of experience as we live it both before philosophy begins and

in Divine love
The changing view of Germany in Anglo-American geopolitics
Lucian Ashworth

its ideas. 40 Yet, Whittlesey was no environmental determinist. The environment was merely permissive. For Strausz-Hupé, on the other hand, the origins lay in a mass psychological pathology. For him, the deep roots were to be found in ‘a morbid German craving for world power’. 41 This psychological pathology argument that Strausz-Hupé used to understand German geopolitics would later also form the core of his anti-communist writings during the Cold War. In both cases, the German philosophical development that these causes had set in motion led to a geopolitical

in Prussians, Nazis and Peaceniks
Open Access (free)
From critical theory to technical politics
Graeme Kirkpatrick

philosophy, with attendant limitations on what counts as real for social science , Feenberg retains from earlier critical theorists the notion of a wider reality that exceeds contemporary science and even plays an important role in social and historical change. In all these ways, Feenberg is a traditional critical theorist who refuses the Habermasian update. At the same time, he introduces innovations of his own to Marcusean critical theory, also based on subsequent philosophical developments. In particular, Feenberg does not accept the consignment of technology to a

in Technical politics