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Journal of Contemporary Drama in English

Editor-in-Chief: Middeke, Martin

Ed. by Berns, Ute / Wallace, Clare / Wald, Christina

2 Issues per year

Online
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2195-0164
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From Theatre & Everyday Life to Theatre in the Expanded Field: Performance Between Community and Immunity

Alan Read
Published Online: 2014-04-16 | DOI: https://doi.org/10.1515/jcde-2014-0002

Abstract

Immunisation, Immersion and Installation are the three nodes to this paper which taken together generate some questions for theatre and its politics. The paper considers the claims made for a special status for theatre as a pre-eminently social, communitarian act, claims that deflect the more pressing question of why the theatre always, by definition fails in its political aspirations.

Keywords: Emancipated spectator; emaciated spectator; community; immunitas; immersion; installation

Works Cited

    Primary Literature

    • Bałka, Mirosław. How It Is. The Unilever Series. Tate Modern Exhibition. 13 Oct. 2009–5 Apr. 2010.Google Scholar

    • Best Before. Created by Helgard Haug and Stefan Kaegi. Rimini Protokoll. London International Festival of Theatre. Institute of Contemporary Arts (ICA), London. 30 June–3 July 2010.Google Scholar

    • Revolution Now! By Gob Squad. Perf. Johanna Freiburg, Sean Patten, Masha Qrella, Sharon Smith, and Bastian Trost. London International Festival of Theatre. Institute of Contemporary Arts (ICA), London. 30 June–3 July 2010.Google Scholar

    Secondary Literature

    • Auslander, Philip. Liveness. London: Routledge, 1997.Google Scholar

    • Bataille, George. The Cradle of Humanity: Prehistoric Art and Culture. Ed. Stuart Kendall. Trans. Michelle Kendall and Stuart Kendall. New York: Zone Books, 2005.Google Scholar

    • Esposito, Roberto. Bios. Trans. Timothy Campbell. Minneapolis: University of Minnesota P, 2008.Google Scholar

    • Levi, Primo. The Truce: A Survivor’s Journey Home from Auschwitz. Trans. Stuart Woolf. London: Vintage, 1967.Google Scholar

    • Rancière, Jacques. The Emancipated Spectator. Trans. Gregory Elliott. London: Verso, 2009.Google Scholar

    • Read, Alan. “The Emaciated Spectator and the Witness of the Powerless.” Performance, Politics and Activism. Eds. Peter Lichtenfels and John Rouse. Houndmills: Palgrave, 2013. 87–106.Google Scholar

    • –––. Theatre & Everyday Life: An Ethics of Performance. London: Routledge, 1993.Google Scholar

    • –––. Theatre in the Expanded Field. Seven Approaches to Performance. London: Bloomsbury Methuen Drama, 2014.Google Scholar

    • –––. Theatre, Intimacy & Engagement: The Last Human Venue. Houndmills: Palgrave, 2008.Google Scholar

    • “The Unilever Series: Mirosław Bałka: How It Is.” Tate Modern 13 Oct. 2009. 12 Jan. 2010. <http://www.tate.org.uk/whats-on/tate-modern/exhibition/unilever-series-miroslaw-balka-how-it>.

Primary Literature

  • Bałka, Mirosław. How It Is. The Unilever Series. Tate Modern Exhibition. 13 Oct. 2009–5 Apr. 2010.Google Scholar

  • Best Before. Created by Helgard Haug and Stefan Kaegi. Rimini Protokoll. London International Festival of Theatre. Institute of Contemporary Arts (ICA), London. 30 June–3 July 2010.Google Scholar

  • Revolution Now! By Gob Squad. Perf. Johanna Freiburg, Sean Patten, Masha Qrella, Sharon Smith, and Bastian Trost. London International Festival of Theatre. Institute of Contemporary Arts (ICA), London. 30 June–3 July 2010.Google Scholar

Secondary Literature

  • Auslander, Philip. Liveness. London: Routledge, 1997.Google Scholar

  • Bataille, George. The Cradle of Humanity: Prehistoric Art and Culture. Ed. Stuart Kendall. Trans. Michelle Kendall and Stuart Kendall. New York: Zone Books, 2005.Google Scholar

  • Esposito, Roberto. Bios. Trans. Timothy Campbell. Minneapolis: University of Minnesota P, 2008.Google Scholar

  • Levi, Primo. The Truce: A Survivor’s Journey Home from Auschwitz. Trans. Stuart Woolf. London: Vintage, 1967.Google Scholar

  • Rancière, Jacques. The Emancipated Spectator. Trans. Gregory Elliott. London: Verso, 2009.Google Scholar

  • Read, Alan. “The Emaciated Spectator and the Witness of the Powerless.” Performance, Politics and Activism. Eds. Peter Lichtenfels and John Rouse. Houndmills: Palgrave, 2013. 87–106.Google Scholar

  • –––. Theatre & Everyday Life: An Ethics of Performance. London: Routledge, 1993.Google Scholar

  • –––. Theatre in the Expanded Field. Seven Approaches to Performance. London: Bloomsbury Methuen Drama, 2014.Google Scholar

  • –––. Theatre, Intimacy & Engagement: The Last Human Venue. Houndmills: Palgrave, 2008.Google Scholar

  • “The Unilever Series: Mirosław Bałka: How It Is.” Tate Modern 13 Oct. 2009. 12 Jan. 2010. <http://www.tate.org.uk/whats-on/tate-modern/exhibition/unilever-series-miroslaw-balka-how-it>.

About the article

Published Online: 2014-04-16

Published in Print: 2014-05-01


Citation Information: Journal of Contemporary Drama in English, Volume 2, Issue 1, Pages 8–25, ISSN (Online) 2195-0164, ISSN (Print) 2195-0156, DOI: https://doi.org/10.1515/jcde-2014-0002.

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