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Open Access (free)
Susan M. Johns

witnessing 5 Witnessing awise countess of Gloucester (d. 1197) attested 75 per cent of the charters of her husband, Earl William.1 Her title is comitissa, sometimes elaborated as comitissa Glouc(estrie). On one charter she is Haw(is)ia uxore mea. She is the first witness in all but four acta.2 The charter witness lists place Hawise at the apex of the internal hierarchy of the Gloucester power structure on her husband’s charters. Hawise was also involved in transactions where she was the recipient of countergifts. One is a charter confirming the grant by a

in Noblewomen, aristocracy and power in the twelfth-century Anglo-Norman realm
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Exclusive affects
Helen Hills

To witness with thine eyes what some perhaps Contented with report heare onely in heav’n. (Milton, Paradise Lost, iii.700) My heart so hardened that I cannot repent. (Christopher Marlowe, The Tragicall History of the Life and Death of Dr. Faustus, scene vi) Witnessing the miracle Ribera’s superb altarpiece in San Gennaro’s Treasury Chapel explores what it is to witness a miracle ( Plates 4 & 13 ). Gennaro witnesses in miraculously surviving the furnace, while those around him, uncomprehending, are dashed against the edges of

in The matter of miracles
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Documentary theatre in twenty-first-century Russia
Author: Molly Flynn

Since the early 2000s, Russia’s most innovative theatre artists have increasingly taken to incorporating material from real-life events into their performance practice. As the Kremlin’s crackdown on freedom of expression continues to tighten, playwrights and directors are using documentary theatre to create space for public discussion of injustice in the civic sphere and its connections to the country’s twentieth-century past. This book traces the history of documentary theatre’s remarkable growth in Russia since its inception in 1999 and situates the form’s impact within the sociopolitical setting of the Putin years (2000–). It argues that through the practice of performing documents, Russia’s theatre artists are creating a new type of cultural and historical archive that challenges the dominance of state-sponsored media and invites individuals to participate in a collective renegotiation of cultural narratives. Drawing on the author’s previous work as a researcher, producer, and performer of documentary theatre in contemporary Russia, Witness Onstage offers original insight into the nature of the exchange between audience and performance as well as new perspectives on the efficacy of theatre as a venue for civic engagement.

Towards the decolonisation of testimonial theatre
Amanda Stuart Fisher

3 Theatre of witnessing: towards the decolonisation of testimonial theatre To me ‘testimonial theatre’ is a genre wrought from people bearing witness to their own stories through remembrance and words. Material culled from memory is crafted into a compelling yet true narrative, which is then brought to life through text, performance and the visual devices of theatre. The essential component of this genre lies in its capacity for healing through speaking, hearing and being heard. (Farber, 2008b: 19) In 2007, I interviewed the South African playwright and

in Performing the testimonial
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History, belief, and the theatre of enactment
Molly Flynn

4 Material witness History, belief, and the theatre of enactment Russia’s twenty-first-century documentary theatre artists draw upon the legacy of their country’s twentieth century in their search for new methods with which to stage collisions between theatre and everyday life. Chapter 2 illustrated how the artists of the Joseph Beuys Theatre and Moscow’s Sakharov Center use documentary theatre to make meaningful interventions in Russia’s culture of commemoration. Chapter 3 showed how the artists at Teatr.doc draw out important connections between the

in Witness onstage
Patrick Duggan

4 Performance ‘texts’ as sites of witness One of the defining characteristics of a theatrical event is the fact that it takes place in the presence of spectators, in front of a live audience. (Rokem 2002: 167) Western theatre is itself predicated on the belief that there is an audience. (Phelan 1997: 31) [T]o witness an event is to be present at it in some fundamentally ethical way, to feel the weight of things and one’s own place in them even if that place is simply for the moment, as an onlooker[…] The art-work that turns us into witnesses leaves us, above all

in Trauma-tragedy
Martyn J. Powell

118 The Cato Street Conspiracy 7 State witnesses and spies in Irish political trials, 1794–1803 Martyn J. Powell This chapter looks at the use of spies and state witnesses in trials of United Irishmen and their Defender allies in Ireland and Britain in the years leading up to the 1798 rebellion, the rebellion itself, and the alleged and planned uprisings of 1802–3. This period saw numerous high-profile trials of figures active in the United Irishmen, the radical reform movement that had pushed towards a republican, separatist agenda by the second half of the

in The Cato Street Conspiracy
Remixed lives, reincarnated images and live- streamed co- presence
Sam Gregory

184 13 Human rights in an age of distant witnesses: remixed lives, reincarnated images and live-​streamed co-​presence Sam Gregory What is the role of the ‘distant witness’ to human rights, participating in witnessing at a distance (either within a country, or internationally) via recorded, remixed, ‘reincarnated’ and live video? Within the context of broader democratisation and participation in human rights image-​making, new participants in active ‘distant witnessing’ shape and reshape narratives in ways that highlight long-​standing questions of how

in Image operations
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The textual ruins of The Milesian chief
Christina Morin

and future, promising an ongoing disruption of peaceful modernity. Working between and across literary genres and forms, therefore, Maturin’s novel highlights the ways in which the boundaries between reality and fiction, past and present, continually break down in Ireland. Unlike Owenson, Maturin is not deterred from bearing witness to the past by a recognition of its atrocities. Instead

in Charles Robert Maturin and the haunting of Irish Romantic fiction
Sarah Wright

3 Memory and the child witness in ‘art-house horror’ ‘Cinema can lay claim to the child, as the child lays claim to cinema’, writes Vicky Lebeau, citing the sequence where Ana (Ana Torrent) and her sister Isabel (Isabel Tellería), two girls living in the post-war Spain of the 1940s, watch James Whale’s Frankenstein (1931) in a makeshift cinema in Víctor Erice’s El espíritu de la colmena: ‘the sequence yields one of the most compelling images of children’s look at the screen, or the look of the child caught up in the wonders, and horrors of the moving image

in The child in Spanish cinema