The discourses and practices of science and medicine significantly influenced British Romantic-period drama so that these new fields of inquiry were recontextualized in popular forms of the Gothic. Notions of the body and the spirit were negotiated on the stage, and the result constituted what I call ‘Techno-Gothic’ drama. Not surprisingly, Techno-Gothic drama took on two manifestations - grotesques and ghosts - and I examine how the vampire - at once grotesque and ghos - demonstrates the workings of Techno-Gothic drama in James Robinson Planchés melodrama The Vampire; or the Bride of the Isles, A Romantic Melodrama in Two Acts, Preceded by an Introductory Vision (1820) and in Thomas Dibdin‘s spectacular Don Giovanni; or A Spectre on Horseback (1818). I argue that Planchés and Dibdins popular plays demonstrate how Techno-Gothic drama appropriated, interrogated, negotiated, and resisted scientific concepts and technological methods in post-Enlightenment thought and culture. In parodying scientific methods and demonstrations, The Vampire and Don Giovanni, question the veracity and omnipotence of the new sciences.
Queering the Gothic Parody of Arsenic and Old Lace
Frank Capras Arsenic and Old Lace (1944), based on Joseph Kesselrings popular Broadway play, has been largely ignored by critics and Capra-philes. The film is generally perceived of as existing outside of the corpus of Capras other films, such as Its a Wonderful Life, Mr Deeds Goes to Town, and Mr Smith Goes to Washington. As Thomas Schatz states, the feeling about Arsenic is that it is little more than a serving of canned theater, an entertaining and straightforward recreation,of the stage play with virtually none of the style or substance of earlier Capra-directed pictures. Victor Scherle and William Turner Levy note that ‘Capra left the play essentially unchanged and did not embellish it with any special social significance’. In his extensive biography of the director, Joseph McBride goes so far as to state that the filming of Arsenic signals the beginning of a ‘flight from ideas’ which would continue for most of Capras career.
This book focuses on performance construed in the largest sense, as the deployment of a personal style, as imagery of various kinds, and even as books, which in the early modern era often include strongly performative elements. The chapters in the book fall logically into four groups: on personal style and the construction of the self, on drama, on books, and on the visual arts. Personal style is performative in the simple sense that it is expressive and in the more complex sense that it thereby implies that there is something to express. The book takes a broad view of the question of performance through disguise. Disguises in Elizabethan drama are nearly always presumed to be impenetrable, effectively concealing the self, whereas costume is designed to adorn the self, to make the self more strikingly recognizable. The book considers the changing effects of disguise and costume both on concepts of the self and on assumptions about the kind of reality represented by theater. As a practice that makes performance visible as such, theater is characterized by an ongoing reflection on the very norms that make dramatic performance legible and indeed possible. Images are never more performative in and for a culture than when they offer a view onto the differences through which culture is made.
These chapters, which explore
early modern theatre and performance transnationally, emerge from
the research collective Theater Without Borders (TWB). The group
formally established itself in 2005 and 2006 conferences at Kadir
Has University in Istanbul, but had had its origins in a series of
seminars at American Comparative Literature Association annual
Care and debility in collaborations between non-disabled and learning disabled theatre makers
, Kittay proposes that ‘[r]ather than denying our interdependence, my aim is to find a knife sharp enough to cut through the fiction of our independence’ ( 1999 : xiii).
In this chapter, I will pick up these concerns to consider how the dynamics of dependency, equality, interdependence and care play out in two performances in which ensembles of actors with learning disabilities collaborate with non-disabled directors: Disabled Theater , produced by Theater HORA and directed by Jérôme Bel; and Contained , produced by Mind the Gap theatre company and directed by Alan
theaters were filled with nude female dancers, models from art
studios exposed their breasts at parties, directors staged imitations of sexual scenes, nudists undressed in the great outdoors.
Certainly, these daring dancers, models, and directors were well
and truly worried about the court and, if the nudists were not,
it was because they set up their spaces such that they could not
be seen from the outside. Nevertheless each of these contemporaneous movements constituted a true force of resistance against
Article 330. And they ended by winning, at least in part, in the
4.2 ) is a gem of a short. It brings together Herko and Village Voice dance critic and Judson Dance Theater champion Jill Johnston, dancing on a New York rooftop. Made in an early period of Warhol’s filmmaking known for “minimalist” films depicting stillness or everyday activities, this film is quite unusual in its portrayal of a dance occurring in a stage-like space, and it is significant that Warhol decided to show Johnston and Herko, in particular, dancing together. The film gives us a dance of misfits. Or, rather, it provides space for them to “misfit
know how to die?
It is not a given that theatre will challenge social convention with
respect to attitudes toward death and dying. Death denial can function as
an unexamined philosophy and conditioning element in theatre unless
it is deliberately foregrounded and challenged (see Chambers, 2010).
This chapter looks at four examples that do just that: Dino Buzzati’s
little-known play Un caso clinico (A Clinical Case, 1953); Terminal
(1969–71), a collectively created work by the American experimental
company the Open Theater (text by Susan Yankowitz); and two plays
establishment of a theater. It was generally suspected that this
part of the article was either written or suggested by Voltaire, who
was living in exile there at the time and complaining bitterly to
his friends about the lack of a theater.
Jean-Jacques Rousseau, born in Geneva, had contributed
many entries to the Encyclopédie on music and
political economy and was well known as a
Graduate Center's Martin E. Segal Theater Center.
1 H. Barker, Seven Lears and Golgo (London: John Calder, 1990), p. 71.
2 G. Barker, quoted in D. Kennedy, The Spectator and the Spectacle (Cambridge:
Cambridge University Press, 2009), p. 175.
3 D. Mamet, Theatre (London: Faber, 2010), p. 124.