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If theatre is a way of seeing, an event onstage but also a fleeting
series of moments; not a copy or double but more vitally
metamorphosis, transformation, and change, how might we speak to -
and of - it? How do we envision and frame a fluid reality that
moves faster than we can write? Arranged over two parts,
'Figurations' and 'Translations', Essays on Theatre and Change
reflects on the animal, history, doubling, translation, and the
performative potential of writing itself. Each fictocritical essay
weaves between voices, genres and contexts to consider what theatre
might be, offering a 'partial object' rather than a complete
theory. Leaving the page radically open to its reader, Essays on
Theatre and Change is a dazzling, multi-lensed account of what it
is to think and write on theatre.
If theatre is a way of seeing, an event onstage but also a fleeting
series of moments; not a copy or double but more vitally
metamorphosis, transformation, and change, how might we speak to -
and of - it? How do we envision and frame a fluid reality that
moves faster than we can write? Arranged over two parts,
'Figurations' and 'Translations', Essays on Theatre and Change
reflects on the animal, history, doubling, translation, and the
performative potential of writing itself. Each fictocritical essay
weaves between voices, genres and contexts to consider what theatre
might be, offering a 'partial object' rather than a complete
theory. Leaving the page radically open to its reader, Essays on
Theatre and Change is a dazzling, multi-lensed account of what it
is to think and write on theatre.
Theories of Performance: Critical and Primary Sources offers a
comprehensive collection of key writings on a subject which has
come to permeate fields as diverse as theatre, comparative
literature, philosophy, law, history, English, and science and
technology studies, in what has been termed the transdisciplinary
'performative turn'. The collected essays draw upon writing from
these diverse disciplines - and more - together illustrating how
performance has become an ever more vibrant and plastic discursive
practice. It includes a wide range of historical and more
contemporary perspectives from the northern and southern
hemispheres, with writing drawn from South and Southeast Asia, East
Asia, Europe, Russia and the post-Soviet context, the Americas,
Africa and the Caribbean. Expansive in their representation, the
four volumes address current questions of protest culture, race and
gender politics, biopolitics, indigenous studies and perspectives,
postcolonialism and decoloniality, and language/translation, among
others. Each volume is introduced by the editor and arranged
thematically, so that the development of ideas can be traced within
a theme. The set includes 90 essays covering the following major
areas: discipline, method, documentation, and body politic.
Together the four volumes of Theories of Performance present a
major scholarly resource for the field.
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 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'. -- .
Notes and journal entries document Guattari and Deleuze's
collaboration on their 1972 book Anti-Oedipus. "The unconscious is
not a theatre, but a factory," wrote Gilles Deleuze and Felix
Guattari in Anti-Oedipus (1972), instigating one of the most daring
intellectual adventures of the last half-century. Together, the
well-known philosopher and the activist-psychiatrist were updating
both psychoanalysis and Marxism in light of a more radical and
"constructivist" vision of capitalism: "Capitalism is the exterior
limit of all societies because it has no exterior limit itself. It
works well as long as it keeps breaking down."Few people at the
time believed, as they wrote in the often-quoted opening sentence
of Rhizome, that "the two of us wrote Anti-Oedipus together." They
added, "Since each of us was several, that became quite a crowd."
These notes, addressed to Deleuze by Guattari in preparation for
Anti-Oedipus, and annotated by Deleuze, substantiate their claim,
finally bringing out the factory behind the theatre. They reveal
Guattari as an inventive, highly analytical, mathematically-minded
"conceptor," arguably one of the most prolific and enigmatic
figures in philosophy and sociopolitical theory today. The
Anti-Oedipus Papers (1969-1973) are supplemented by substantial
journal entries in which Guattari describes his turbulent
relationship with his analyst and teacher Jacques Lacan, his
apprehensions about the publication of Anti-Oedipus and accounts of
his personal and professional life as a private analyst and
codirector with Jean Oury of the experimental clinic Laborde
(created in the 1950s).
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