This book is about science in theatre and performance. It explores how theatre and performance engage with emerging scientific themes from artificial intelligence to genetics and climate change. The book covers a wide range of performance forms from the spectacle of the Paralympics Opening Ceremony to Broadway musicals, from experimental contemporary performance and opera to educational theatre, Somali poetic drama and grime videos. It features work by pioneering companies including Gob Squad, Headlong Theatre and Theatre of Debate as well as offering fresh analysis of global blockbusters such as Wicked and Urinetown. The book offers detailed description and analysis of theatre and performance practices as well as broader commentary on the politics of theatre as public engagement with science. It documents important examples of collaborative practice with extended discussion of the Theatre of Debate process developed by Y Touring theatre company, exploration of bilingual theatre-making in East London and an account of how grime MCs and dermatologists ended up making a film together in Birmingham. The interdisciplinary approach draws on contemporary research in theatre and performance studies in combination with key ideas from science studies. It shows how theatre can offer important perspectives on what the philosopher of science Isabelle Stengers has called ‘cosmopolitics’. The book argues that theatre can flatten knowledge hierarchies and hold together different ways of knowing.
Johanna Gondouin, Suruchi Thapar-Björkert, and Ingrid Ryberg
reproduces the image
of the sexually available, servile South East Asian woman-as-prostitute, a
dominant stereotype of Asian women in HollywoodCinema instated by
iconic performances in Vietnam war films such as Michael Cimino’s The
Deer Hunter (1978) and Stanley Kubrick’s Full Metal Jacket (1987) (Prasso,
2005). In addition to the submissive and hypersexual Thai prostitute, these
young women also come across as another stereotypical image of the third
world woman: the passive, silent victim, whose lack of agency allows the
Western feminist subject to define herself as
necessitate more questioning, careful
contextualisation and collective consideration of why, when and if to warn.
Indeed there was a time when feminist, queer and critical race studies
scholars were much more worried about the treacherousness of pleasure
than about pain and hurt. For example, in the 1980s Mary Ann Doane
(1982) interrogated the ways Hollywoodcinema constructs the female body
as an idealised and pleasurable spectacle. Through a recognition and pull
of similarity, the female spectator has no choice but to over-identify with
the image, unless she fully
smoothly integrated into a seamless, immersive experience, as is often the case in Hollywoodcinema or even in more experimental work such as that by Velonaki, My Square Lady hopped backwards and
forwards across the break, both generating and exposing a series of contradictory feelings, experienced within different theatrical modes of being.
Hansky as Orpheus controlled a sense of loss, safely smashing a bottle,
boxed into a stage on a stage, boxed into a score and a libretto, experienced
as metaphor performed and received via 200 years of opera history. Hansky as Hansky
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