Trauma-tragedy investigates the extent to which performance can
represent the 'unrepresentable' of trauma. Throughout, there is a
focus on how such representations might be achieved and if they
could help us to understand trauma on personal and social levels.
In a world increasingly preoccupied with and exposed to traumas,
this volume considers what performance offers as a means of
commentary that other cultural products do not. The book's clear
and coherent navigation of complex relations between performance
and trauma and its analysis of key practitioners and performances
(from Sarah Kane to Societas Raffaello Sanzio, Harold Pinter to
Forced Entertainment, and Phillip Pullman to Franco B) make it
accessible and useful to students of performance and trauma
studies, yet rigorous and incisive for scholars and specialists.
Duggan explores ideas around the phenomenological and
socio-political efficacy and impact of performance in relation to
trauma. Ultimately, the book advances a new performance theory or
mode, 'trauma-tragedy', that suggests much contemporary performance
can generate the sensation of being present in trauma through its
structural embodiment in performance, or 'presence-in-trauma
effects'. -- .
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