Search results

You are looking at 1 - 10 of 20 items for :

  • "theatre and performance studies" x
Clear All

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.

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.

Abstract only
The politics of performance and the performance of politics
Peter Yeandle and Katherine Newey

Yeandle and Newey argue for the vital role played by theatre in political and popular culture of the long nineteenth century. Using Peter Burke’s description of the ‘performative turn,’ they outline the conditions for, and the consequences of the emergence of theatre and performance studies as an essential component in the reconstruction of the Victorian past. They argue that the theatre was not only one of the most important cultural institutions of the nation, but also an industry, increasingly founded on a model of speculative capitalism, but still enmeshed within older oligarchic structures of regulation and custom. The theatre of the nineteenth century offers a case study at large for the transformation of the public sphere and the creation of a spectacular public culture in Victorian Britain.

in Politics, performance and popular culture
Sruti Bala

point of comparison in the discipline of theatre and performance studies. Scenarios are frameworks or broad outlines of practices, ‘meaningmaking paradigms that structure social environments, behaviours, and potential outcomes … [featuring] milieux and corporeal behaviours such as gestures, attitudes, and tones not reducible to language’ (Taylor, 2003, p. 28). Scenarios thus importantly include more elements than text, narrative or plot, and reflect the diverse layers and systems at work in order for practices to enter or exit the repertoires and archives of cultural

in The gestures of participatory art
Abstract only
Theatre, performance, Foucault
Tony Fisher and Kélina Gotman

question for theatre and performance studies There is arguably no better place to practice shifting one’s critical gaze than in the theatre. 18 For indeed what is theatre if it is not precisely a space for ‘seeing’ – for rendering objects visible, so as to reconstitute them before a critical and challenging regard, to estrange them so as to see that which would otherwise be too

in Foucault’s theatres
Kelly Jones

livecast with its ‘not-quite-liveness’ (10) has encouraged a revision of the ways in which we understand and experience liveness. To this end, Barker presents a comprehensive survey regarding critical debates in the fields of theatre and performance studies, television studies, film studies, music studies, sports psychology, comedy studies, and virtual performance, as he demonstrates that the concept of ‘liveness’ has attracted considerable critical attention within the scholarly disciplines attached to these various media. ‘Liveness matters’, he writes, ‘[b]ut how it

in Adapting Frankenstein
Abstract only
Trauma-tragedy and the contemporary moment
Patrick Duggan

not a new consideration in general terms – that is to say there have been arguments about what theatre should or should not represent down through the centuries – it is an increasingly explicit area of scholarly investigation in theatre and performance studies. Two useful, recent publications which attest to this rise are Nicholas Ridout’s Theatre & Ethics (2009) and Helena Grehan’s Performance, Ethics and Spectatorship in a Global Age (2009). Given the rise in this area of scholarly activity (cognate with my own investigations and relating to questions of ethics

in Trauma-tragedy
Abstract only
Sam Haddow

networks through which those representations are distributed. Representation itself may be a language of violence. This is Marie-​José Mondzain’s point when she sees Christianity declaring that ‘the one who is master of the visible is master of the world and organises the control of the gaze’ (2009, p. 20). In theatre and performance studies, the great critic of this language, who warned of its consequences and suffered immeasurably for his perceptiveness, is Antonin Artaud. It seems fitting, if not inevitable, that this book should encounter him at the close. Antonin

in Precarious spectatorship
Abstract only
Liz Tomlin

performance work in the early 2000s were, in the main, theatre graduates from the 1980s and 1990s. As I detail in Chapter 1, their pedagogical legacy from theatre and performance studies departments in the United Kingdom would inevitably include the inheritance of an increasingly polarised binary, heard most commonly at that time in the opposition that pitted a ‘radical’ devising or non-text-based practice against a ‘traditional’ textbased practice assumed to operate in a more or less dramatic framework. Perhaps, partly for this reason, there were few leading artists in

in Acts and apparitions
Rethinking ‘directors’ theatre’
Peter M. Boenisch

study. Additionally, there are most useful editions of interviews, primary material and other writings on theatre directing offered by Delgado and Heritage (1996), Giannachi and Luckhurst (1998) and Schneider and Cody (2002). Within Anglo-American theatre (and performance) studies, the longheld, almost exclusively Anglo-centric perspective has subsequently been redressed through particular attention to Continental European theatre directing by Kelleher and Ridout (2006), Carlson (2009), Lavender and Harvie (2010) and Shevtsova and Innes (2009), as well as Finburgh and

in Directing scenes and senses