Dystopian performatives and vertigo aesthetics in popular theatre
Simon Parry

3 Speculative theatricality: dystopian performatives and vertigo aesthetics in popular theatre The scientific version of our existence on this planet may very well be physically true, but we don’t like it much. It isn’t cuddly. There aren’t many tunes you can hum in the shower. (Atwood 2012, 54) What is this feeling So sudden and new? I felt the moment I laid eyes on you My pulse is rushing My head is reeling My face is flushing What is this feeling? Fervid as a flame Does it have a name? (Holzman and Schwartz 2006, 146) The novelist Margaret Atwood snappily

in Science in performance
Open Access (free)
The Admirable Crichton and Look Back in Anger
Stephen Lacey

and tensions. To explore this it is necessary, for a while, to go outside the 1950s, and away from film history, for film criticism and theory has been churlish about the theatrical in cinema; indeed, the inferiority felt by the film industry towards the theatre noted earlier is markedly absent. In theatre criticism, to note that a play is ‘cinematic’ is often to find something interesting in it, to

in British cinema of the 1950s
Visual Advocacy in the Early Decades of Humanitarian Cinema
Valérie Gorin

. Immersive Realities and Witnessing Audiences The stories in these movies were framed for international audiences and circulated through charity and religious networks, from the field to the theatrical venues back home. The circuit started with the image-makers: relief workers or professional filmmakers, who also became observers (but not impartial observers), shot many of these movies on the spot. Very often, they were the first Western bystanders (besides journalists) to assess the needs, thus offering a unique glimpse on the other side of the mirror. The circuit then

Journal of Humanitarian Affairs
The Visual Politics and Narratives of Red Cross Museums in Europe and the United States, 1920s to 2010s
Sönke Kunkel

, 51 – 5 , doi: 10.7227/JHA.018 . Pinder , J. ( 2018 ), ‘ A Theatrical Critique of Humanitarian Civility in the ICRC Museum ’, Research in Drama Education: The Journal of Applied and Theatre and Performance , 23 : 4 , doi: 10

Journal of Humanitarian Affairs
Working memories
Author: David Calder

Street theatre and the production of postindustrial space explores how street theatre transforms industrial space into postindustrial space. Deindustrializing communities have increasingly turned to cultural projects to commemorate industrial heritage while simultaneously generating surplus value and jobs in a changing economy. Through analysis of French street theatre companies working out of converted industrial sites, this book reveals how theatre and performance more generally participate in and make historical sense of ongoing urban and economic change. The book argues, firstly, that deindustrialization and redevelopment rely on the spatial and temporal logics of theatre and performance. Redevelopment requires theatrical events and performative acts that revise, resituate, and re-embody particular pasts. The book proposes working memory as a central metaphor for these processes. The book argues, secondly, that in contemporary France street theatre has emerged as working memory's privileged artistic form. If the transition from industrial to postindustrial space relies on theatrical logics, those logics will manifest differently depending on geographic context. The book links the proliferation of street theatre in France since the 1970s to the crisis in Fordist-Taylorist modernity. How have street theatre companies converted spaces of manufacturing into spaces of theatrical production? How do these companies (with municipal governments and developers) connect their work to the work that occurred in these spaces in the past? How do those connections manifest in theatrical events, and how do such events give shape and meaning to redevelopment? Street theatre’s function is both economic and historiographic. It makes the past intelligible as past and useful to the present.

Open Access (free)
Working memory
David Calder

Anglophone precedents and thus robbed it of the clear sense of direction that had enabled its rapid postwar modernization.8 These drastically altered circumstances, characterized by pervasive uncertainty, make working memory both especially necessary and more readily apparent. As I demonstrate below and throughout this book, working memory operates theatrically and performatively. To make historical sense of deindustrialization and redevelopment requires theatrical events and performative acts that revise, resituate, and re-embody particular pasts. Working memory depends

in Street theatre and the production of postindustrial space
Open Access (free)
Convergence, emergence and divergence
Simon Parry

beyond the human: to an emergent history of the universe where humanity makes a brief appearance; to climatic forces with which we are painfully at odds; to a cosmology in which humans are minutely peripheral. The tendency for theatrical performance to emerge from the political paradoxes of science runs throughout the examples discussed in this book. Theatre, as incarnated in the figures of McKellen/Prospero and MilesWildin/Miranda, struggles with the decentring of the human subject even as it attempts to grapple with the emergence of new objects; science through the

in Science in performance
Gob Squad, a funny robot and dancing scientists
Simon Parry

creative interactions between the robot and performers at the opera. Members of the robotics research team started visiting the opera house and, along with Myon, ultimately found themselves in rehearsals and then on stage. The collaboration culminated in a short series of performances on the main stage of the opera house in summer 2015. As I will discuss in more detail below, these were celebratory events involving a large eclectic cast 32 Science in performance and all the theatrical infrastructure of a large state-funded opera. The singers from the opera house

in Science in performance
Open Access (free)
Care and debility in collaborations between non-disabled and learning disabled theatre makers
Dave Calvert

resulting performance is often perceived as belonging primarily to Bel’s repertoire rather than Theater HORA’s. Gerald Siegmund ( 2017 ) proposes that Bel’s collected work constitutes an ongoing critical interrogation of dance itself, a discursive project in which Bel sets the parameters for a theatrical examination of the dancing body as culturally produced. Everything that happens within these parameters therefore participates in ‘the discourse “Jérôme Bel”’ (Siegmund, 2017 : 12). Siegmund accordingly suggests that Disabled Theater attends to several recurring

in Performing care
Remediating theatre through radio
Pim Verhulst

) This is exactly what happens to Miss Fitt in the radio play. Left to her own devices by the other characters waiting on the platform and being no longer invested in their conversation, she suddenly disappears from the soundscape, without making an audible exit. Even more so than Maddy Rooney, it is the character of Miss Fitt who challenges theatrical performance of All That Fall . She would need to be shown leaving the stage in some form or other, while she simply dissolves into thin air on the radio. Because Miss Fitt is a relatively minor character, this obstacle

in Beckett and media