The volume contributes to a new articulation of theatre and performance studies via Foucault’s critical thought. With cutting edge studies by established and emerging writers in areas such as dramaturgy, film, music, cultural history and journalism, the volume aims to be accessible for both experienced researchers and advanced students encountering Foucault’s work for the first time. The introduction sets out a thorough and informative assessment of Foucault’s relevance to theatre and performance studies and to our present cultural moment – it rereads his profound engagement with questions of truth, power and politics, in light of previously unknown writings and lectures set in relation to current political and cultural concerns. Unique to this volume is the discovery of a ‘theatrical’ Foucault - the profound affinity of his thinking with questions of performativity. This discovery makes accessible the ‘performance turn’ to readers of Foucault, while opening up ways of reading Foucault’s oeuvre ‘theatrically’.
The volume contributes to a new articulation of theatre and performance studies via Foucault's critical thought. With cutting edge studies by established and emerging writers in areas such as dramaturgy, film, music, cultural history and journalism, the volume aims to be accessible for both experienced researchers and advanced students encountering Foucault's work for the first time. The introduction sets out a thorough and informative assessment of Foucault's relevance to theatre and performance studies and to our present cultural moment - it rereads his profound engagement with questions of truth, power and politics, in light of previously unknown writings and lectures. Unique to this volume is the discovery of a 'theatrical' Foucault - the profound affinity of his thinking with questions of performativity. This discovery makes accessible the 'performance turn' to readers of Foucault, while opening up ways of reading Foucault's oeuvre 'theatrically'.
Eliot, Martin Luther, Friedrich Nietzsche, Lewis Carroll's Alice, Walter Benjamin's 'angel of history', and the biblical woman taken in adultery. This book will fascinate anyone interested in the Victorians or literary theory; it will appeal to both the scholar and the student.
This book opens a new interdisciplinary frontier between religion and theatre studies to illuminate what has been seen as the religious, or spiritual, nature of Polish theatre director Jerzy Grotowski’s work. It corrects the lacunae in both theatre studies and religious studies by examining the interaction between the two fields in his artistic output. The central argument of the text is that through an embodied and materialist approach to religion, developed in the work of Michel Foucault and religious studies scholar Manuel Vasquez, as well as a critical reading of the concepts of the New Age, a new understanding of Grotowski and religion can be developed. It is possible to show how Grotowski’s work articulated spiritual experience within the body; achieving a removal of spirituality from ecclesial authorities and relocating spiritual experience within the body of the performer. This is a unique analysis of one of the 20th Century’s most famous theatrical figures. As such, it is a vital reference for academics in both Religion and Theatre Studies that have an interest in the spiritual aspects of Grotowski’s work.
It was not until 1961 that Foucault published his first major book, History of Madness. He had already been working as an academic for a decade, teaching in Lille and Paris, writing, organizing cultural programmes and lecturing in Uppsala, Warsaw and Hamburg. Although he published little in this period, Foucault wrote much more, some of which has been preserved and only recently become available to researchers. Drawing on archives in France, Germany, Switzerland, Sweden and the USA, this is the most detailed study yet of Foucault’s early career. It recounts his debt to teachers including Louis Althusser, Jean Hyppolite, Maurice Merleau-Ponty and Jean Wahl; his diploma thesis on Hegel; and his early teaching career. It explores his initial encounters with Georges Canguilhem, Jacques Lacan, and Georges Dumézil, and analyses his sustained reading of Friedrich Nietzsche, Edmund Husserl and Martin Heidegger. Also included are detailed discussions of his translations of Ludwig Binswanger, Victor von Weizsäcker, and Immanuel Kant; his clinical work with Georges and Jacqueline Verdeaux; and his cultural work outside of France. Investigating how Foucault came to write History of Madness, Stuart Elden shows this great thinker’s deep engagement with phenomenology, anthropology and psychology. An outstanding, meticulous work of intellectual history, The Early Foucault sheds new light on the formation of a major twentieth-century figure.
This book is a historical study of the use of Asian theatre for modern Western theatre as practiced by its founding fathers, including Aurélien Lugné-Poe, Adolphe Appia, Gordon Craig, W. B. Yeats, Jacques Copeau, Charles Dullin, Antonin Artaud, V. E. Meyerhold, Sergei Eisenstein, and Bertolt Brecht. It investigates the theories and practices of these leading figures in their transnational and cross-cultural relationship with Asian theatrical traditions and their interpretations and appropriations of the Asian traditions in their reactional struggles against the dominance of commercialism and naturalism. From the historical and aesthetic perspectives of traditional Asian theatres, it approaches this intercultural phenomenon as a (Euro)centred process of displacement of the aesthetically and culturally differentiated Asian theatrical traditions and of their historical differences and identities. Looking into the displaced and distorted mirror of Asian theatre, the founding fathers of modern Western theatre saw, in their imagination of the 'ghostly' Other, nothing but a (self-)reflection or, more precisely, a (self-)projection and emplacement, of their competing ideas and theories preconceived for the construction, and the future development, of modern Western theatre.
Contemporary European Playwrights presents and discusses a range of key writers that have radically reshaped European theatre by finding new ways to express the changing nature of the continent’s society and culture, and whose work is still in dialogue with Europe today. Traversing borders and languages, this volume offers a fresh approach to analyzing plays in production by some of the most widely-performed European playwrights, assessing how their work has revealed new meanings and theatrical possibilities as they move across the continent, building an unprecedented picture of the contemporary European repertoire. With chapters by leading scholars and contributions by the writers themselves, the chapters bring playwrights together to examine their work as part of a network and genealogy of writing, examining how these plays embody and interrogate the nature of contemporary Europe. Written for students and scholars of European theatre and playwriting, this book will leave the reader with an understanding of the shifting relationships between the subsidized and commercial, the alternative and the mainstream stage, and political stakes of playmaking in European theatre since 1989.
Theatre of the Rule of Law presents a sustained critique of global rule of law promotion - an expansive industry at the heart of international development, post-conflict reconstruction and security policy today. While successful in articulating and disseminating an effective global public policy, rule of law promotion has largely failed in its stated objectives of raising countries out of poverty and taming violent conflict. Furthermore, in its execution, this work deviates sharply from 'the rule of law' as commonly conceived. To explain this, Stephen Humphreys draws on the history of the rule of law as a concept, examples of legal export during colonial times, and a spectrum of contemporary interventions by development agencies and international organisations. Rule of law promotion is shown to be a kind of theatre, the staging of a morality tale about the good life, intended for edification and emulation, but blind to its own internal contradictions.
In a moment of intense uncertainty surrounding the means, ends, and limits of (countering) terrorism, this study approaches the recent theatres of war through theatrical stagings of terror. Theatre on Terror: Subject Positions in British Drama charts the terrain of contemporary subjectivities both ‘at home’ and ‘on the front line’. Beyond examining the construction and contestation of subject positions in domestic and (sub)urban settings, the book follows border-crossing figures to the shifting battlefields in Iraq and Afghanistan. What emerges through the analysis of twenty-one plays is not a dichotomy but a dialectics of ‘home’ and ‘front’, where fluid, uncontainable subjects are constantly pushing the contours of conflict. Revising the critical consensus that post-9/11 drama primarily engages with ‘the real’, Ariane de Waal argues that these plays navigate the complexities of the discourse – rather than the historical or social realities – of war and terrorism. British ‘theatre on terror’ negotiates, inflects, and participates in the discursive circulation of stories, idioms, controversies, testimonies, and pieces of (mis)information in the face of global insecurities.
Theatres of Immanence: Deleuze and the Ethics of Performance is the first monograph to provide an in-depth study of the implications of Deleuze's philosophy for theatre and performance. Drawing from Goat Island, Butoh, Artaud and Kaprow, as well from Deleuze, Bergson and Laruelle, the book conceives performance as a way of thinking immanence.
How do theatre and performance transmit and dispute ideologies of neoliberalism? The essays in this anthology examine the mechanisms and rhetorics of contemporary multinational and transnational organizations, artists, and communities that produce theatre and performance for global audiences.
This book theorizes the baroque as neither a time period nor an artistic style but as a collection of bodily practices developed from clashes between governmental discipline and artistic excess, moving between the dramaturgy of Jesuit spiritual exercises, the political theatre-making of Angelo Beolco (aka Ruzzante), and the civic governance of the Venetian Republic at a time of great tumult. The manuscript assembles plays seldom read or viewed by English-speaking audiences, archival materials from three Venetian archives, and several secondary sources on baroque, Renaissance, and early modern epistemology in order to forward and argument for understanding the baroque as a gathering of social practices. Such a rethinking of the baroque aims to complement the already lively studies of neo-baroque aesthetics and ethics emerging in contemporary scholarship on (for example) Latin American political art.
From the mid-1960s onwards Michel Foucault has had a significant impact on diverse aspects of culture, knowledge and arts including architecture and its critical discourse. The implications for architecture have been wide-ranging. His archaeological and genealogical approaches to knowledge have transformed architectural history and theory, while his attitude to arts and aesthetics led to a renewed focus on the avant-garde. Prepared by an architect, this book offers an excellent entry point into the remarkable work of Michel Foucault, and provides a focused introduction suitable for architects, urban designers, and students of architecture. Foucault’s crucial juxtaposition of space, knowledge and power has unlocked novel spatial possibilities for thinking about design in architecture and urbanism. While the philosopher's ultimate attention on the issues of body and sexuality has defined our understanding of the possibilities and limits of human condition and its relation to architecture. The book concentrates on a number of historical and theoretical issues often addressed by Foucault that have been grouped under the themes of archaeology, enclosure, bodies, spatiality and aesthetics in order to examine and demonstrate their relevancy for architectural knowledge, its history and its practice.
This thirteenth volume in the interdisciplinary Study of Time series explores the way in which limits and constraints impact upon our understanding of time.
A collection of new essays addressing Foucault’s thought and its impact on thinking about the visual arts, literature and aesthetic discourse in the 21st century.
Theatre and Performance in Digital Culture examines the recent history of advanced technologies, including new media, virtual environments, weapons systems and medical innovation, and considers how theatre, performance and culture at large have evolved within those systems. The book examines the two Iraq wars, 9/11 and the War on Terror through the lens of performance studies, and, drawing on the writings of Giorgio Agamben, Alain Badiou and Martin Heidegger, alongside the dramas of Beckett, Genet and Shakespeare, and the theatre of the Kantor, Foreman, Socíetas Raffaello Sanzio and the Wooster Group, the book positions theatre and performance in technoculture and articulates the processes of aesthetics, metaphysics and politics. This wide-ranging study reflects on how the theatre and performance have been challenged and extended within these new cultural phenomena.
Women in Performance: Repurposing Failure charts the renewed popularity of intersectional feminism, gender, race and identity politics in contemporary Western experimental theatre, comedy and performance through the featured artists’ ability to strategically repurpose failure. Failure has provided a popular frame through which to theorise recent avantgarde performance, even though the work rarely acknowledges stakes tend to be higher for women than men. This book analyses the imperative work of a number of female, non-binary and trans* practitioners who resist the postmodern doctrine of ‘post-identity’ and attempt to foster a sense of agency on stage. By using feminism as a critical lens, Gorman interrogates received ideas about performance failure and negotiates contradictions between contemporary white feminism, intersectional feminism, gender and sexuality. Women in Performance: Repurposing Failure reveals how performance has the power to both observe and reject contemporary feminist and postmodern theory, rendering this text an invaluable resource for theatre and performance studies students and those grappling with the disciplinary tensions between feminism, gender, queer and trans* studies.
When he died of an AIDS-related condition in 1984, Michel Foucault had become the most influential French philosopher since the end of World War II. His powerful studies of the creation of modern medicine, prisons, psychiatry, and other methods of classification have had a lasting impact on philosophers, historians, critics, and novelists the world over. But as public as he was in his militant campaigns on behalf of prisoners, dissidents, and homosexuals, he shrouded his personal life in mystery.In The Lives of Michel Foucault written with the full cooperation of Daniel Defert, Foucault's former lover David Macey gives the richest account to date of Foucault's life and work, informed as it is by the complex issues arising from his writings. In this new edition, Foucault scholar Stuart Elden has contributed a new postface assessing the contribution of the biography in the light of more recent literature.
This edited collection brings together a team of internationally prominent academics and delivers cutting-edge discourse on the strongly emerging tradition of experimentation in contemporary British theatre - redefining what the dramatic stands for today. Each chapter of the collection focuses on influential contemporary plays and playwrights.
Three book editors, jaded by reading far too many crackpot manuscripts on the mystic and the occult, are inspired by an extraordinary conspiracy story told to them by a strange colonel to have some fun. They start feeding random bits of information into a powerful computer capable of inventing connections between the entries, thinking they are creating nothing more than an amusing game, but then their game starts to take over, the deaths start mounting, and they are forced into a frantic search for the truth