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The early years of the twenty-first century have witnessed a
proliferation of non-fiction, reality-based performance genres,
including documentary and verbatim theatre, site-specific theatre,
autobiographical theatre, and immersive theatre. Insecurity: Perils
and Products of Theatres of the Real begins with the premise that
although the inclusion of real objects and real words on the stage
would ostensibly seem to increase the epistemological security and
documentary truth-value of the presentation, in fact the opposite
is the case. Contemporary audiences are caught between a desire for
authenticity and immediacy of connection to a person, place, or
experience, and the conditions of our postmodern world that render
our lives insecure. The same conditions that underpin our yearning
for authenticity thwart access to an impossible real. As a result
of the instability of social reality, the audience, Jenn Stephenson
explains, is unable to trust the mechanisms of theatricality. The
by-product of theatres of the real in the age of post-reality is
insecurity.
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