Lire les �uvres de philosophie grecque revient la plupart du temps à lire un corpus limité de textes érigés en «classiques» déconnectés de leurs sites. Pour désenclaver cette sélection, on propose ici d�ouvrir le canon des textes philosophiques grecs moyennant une prise en compte des voyages de ces textes en Occident, de leur forme ainsi que de leur lieu de production. L�article décrit d�une part deux formes de transit des textes philosophiques grecs?: le transit homogène philologico-humaniste, le transit hétérogène des (...) médiations entre nous et l�antiquité. D�autre part, on présente trois formes situées dans l�espace grec?: le logos du temple de Parménide, le dialogos du théâtre de Platon et la dialogê du Lycée d�Aristote. (shrink)

La philosophie doit-elle, aujourd'hui encore, quelque chose à la langue, à la culture et à la pensée grecques? Sophie Klimis, en s’entretenant avec Frank Pierobon, réfléchit sur ces manières de penser et ces nouvelles formes de vie, inventées en Grèce ancienne, conjointement à l’émergence du projet politique de la démocratie. Elle propose un voyage vers ces temps lointains et toujours inspirants, pour en percevoir les ressources, notamment en montrant comment des dispositifs institutionnels et symboliques – dont ceux du choeur dans (...) le théâtre – structurent la Cité et forment ses citoyens. (shrink)

Si l ’ on peut bien affirmer que certains Sceptiques s ’ auto-réfutent, ce n ’ est pas le cas de Sextus Empiricus. En distinguant entre les modèles auto-référentiel et performatif de l ’ auto-réfutation auxquels on confronte les problèmes anciens du Menteur et du renversement ( peritropè ), on peut montrer que Sextus recourt à ce qu ’ il désigne par le mot sumperigraphè, qu ’ il convient de considérer comme un schème topologique verbal (une boucle récursive). Il ressort (...) que Sextus circonscrit la logique dont relève l ’ auto-réfutation, dans un effet réfléchissant et abyssal, rejoignant la grande tradition sceptique du théâtre grec. (shrink)

Cette étude vise à reconstruire la fonction dramatique des interjections attestées dans la première partie des Euménides (ὠή, ἰοὺ ἰοὺ, πυπάξ, ὢ πόποι, ἰώ), afin de montrer les effets que peuvent produire dans le texte les emplois ou les contre-emplois d’une interjection donnée.

This article re-analyses in detail the meaning of the expression ludi Graeci which appears in two of Cicero’s letters (Ad Fam. 7,1 and Ad Att. 15,5). A careful examination of the first instance reveals that ludi Graeci indeed referred to theatrical performances in Greek language and not merely to Latin plays that followed Greek models. A brief survey of contemporary epigraphical sources shows that no occurrence excludes this interpretation. The question of the apparent contradiction between Cicero’s philhellenism and his criticism (...) of the ludi Graeci in the two letters is also addressed, in order to demonstrate that the two attitudes are not mutually exclusive. (shrink)

Dans cette contribution, la Comédie Ancienne est associée de manière surprenante au complexe chamanistique, ou respectivement, au schéma du goës ou magos qui existait dans la Grèce archaïque et dans les premiers temps de la Grèce classique. Après un bref aperçu de l’histoire de la recherche concernant le ‘chamanisme’ grec dans les études classiques, l’auteur écarte explicitement les spéculations essentialistes sur l’origine, mais utilise le phénomène religieux au sens d’un procédé de fantaisie mental et théâtral. Le potentiel performatif du (...) goës est à même de traduire la chute soudaine, constitutive du genre, dans des espaces et des modes de jeu grotesques et ataviques, sur la scène comique. En particulier, les thèmes de la guérison et des voyages dans l’Hadès ou au ciel, thèmes qui jusqu’à présent n’ont pas vraiment été traités comme il l’aurait fallu, comme le héros comique ambigu et excessif, et la poétique alogique et non naturaliste de la Comédie Ancienne, peuvent s’expliquer comme repoussoirs d’un goës chamanique. Dans les pièces populaires de la place de marché, un tel théâtre de bouffons et de médecins charlatans perdure à travers l’histoire. À la fin, l’approche théorique est mise en pratique en prenant comme exemple la Paix d’Aristophane. L’intrigue relativement simple, où le héros chevauche jusqu’au ciel pour trouver une sorte de thérapie pour la cité, est enrichie d’une nouvelle signification totalement englobante, au-delà du politique strict. (shrink)

Ce livre est centré sur les rapports entre religion et philosophie en Grèce antique. Il s'agit en particulier de dégager les fondements philosophiques du rituel féminin des bacchantes et de montrer comment celui-ci trouve un écho dans la vie quotidienne des Grecs, théâtre compris, et un prolongement dans les doctrines philosophiques, notamment dans les textes des philosophes pythagoriciens, dans le platonisme par la voix de Diotime et dans le stoïcisme.

Ce texte a été présenté lors de la journée d'études « Diderot – théâtre & philosophie », organisée, à l'occasion du tricentenaire de sa naissance, le 28 mars 2013 au Lycée Claude Monet (Paris 13e), par Stéphane Poliakov. Avant de commencer à vous parler de Diderot, je voudrais vous dire quelques mots concernant la notion de rythme et expliquer, au moins en partie, le titre de mon intervention. Le mot rythme vient du grec rhuthmos. Or, avant que Platon (...) ne lui donne le sens de kineseos taxis, d'« ordre (...) - Philosophie – Nouvel article. (shrink)

L'unique bain public à Délos, probablement installé peu avant 88 av. J.-C. dans une maison du Quarter du théâtre, n'a jamais été pris en compte, bien qu'il ait été identifié deux fois dans la littérature. Cette première étude détaillée du bain comprend une analyse systématique des installations balnéaires, de l'équipement technique et du décor, suivie de la reconstruction du programme balnéaire, de réflexions sur la fonction et l'utilisation de la maison tout entière, enfin d'une comparaison avec toutes les installations (...) balnéaires de Délos et avec les bains publics grecs de la Méditerranée. Le bain public de Délos présente des éléments architecturaux et du mobilier en marbre, il comprend trois grands bassins à sièges pour les douches chaudes, trois bassins profonds pour les bains d'immersion froids et plusieurs salles luxueuses et multifonctionnelles. Les formes spécifiques des bains, la capacité réduite et la richesse du décor de cet établissement prouvent qu'il est unique dans le contexte délien et parmi les bains publics grecs de la Méditerranée. (shrink)

Le droit de la personne et du corps pourrait être nommé le droit des masques. Persona, à Rome, c'est le masque de théâtre de l’acteur, et le rôle joué par lui, qui devait parler avec éclat (sonare), c’est-à-dire à la fois le signe et l’action représentée. La modernité a révisé cette étymologie, sous la double influence (souvent contraire) du christianisme et du rationalisme, exprimant l’un et l’autre la croyance en une nature singulière de la personne, divine ou rationnelle. D’abord, (...) le droit du corps protège le corps car il porte la trace de la personne, comme l’homme porte la trace de Dieu. Les droits de l’homme font ainsi de la dignité, à l’imitation de la théologie catholique, la catégorie qui permet de protéger le corps : l’euthanasie est interdite, l’avortement est une exception. Ensuite seulement, sous l’influence du rationalisme, le droit fait du corps une liberté du sujet qui peut donc presque tout : admissibilité d’une reproduction assistée, dons d’organes… Cette toute-puissance de l’individu exprime la croyance en l’Homme-Dieu. Un retour à l’origine étymologique romaine où le masque n’était qu’un signe, est-il aujourd’hui pensable ? À l’image des Masques Bambara ou des masques Grecs de Dionysos, la personne, et le corps ne seraient alors que des récits créant un monde de signification qui institue le sujet. L’humanité serait alors ce récit : il n’y aurait « personne » derrière le masque. (shrink)

Using William Shakespeare’s Hamlet and the play-within-the play, The Murder of Gonzago, as a case study, this essay argues that theatrical utterances constitute a special case of language usage not previously elucidated: the utterance of a statement with propositional content in theatre functions as an event. In short, the propositional content of a particular p (e.g. p1, p2, p3 …), whether or not it is true, is only understood—and understood to be true—if p1 is uttered in a particular time, place, (...) and situation (i.e. during a theatrical event); otherwise, the propositional content in those theatrical utterances can either be false or contingently true. (shrink)

Les Cyniques grecs ne nous ont pas l gu de savants trait s. Leur philosophie, plut t pragmatique, s'exprimait par l'observance d'une vie asc tique franchement marginale. Le lecteur d couvrira dans ces fragments qui leur sont attribu s, dans ces t moignages de contemporains, pr sent s ici dans leur version fran aise, l'univers et l'id al des Cyniques. Le texte de cette nouvelle dition a t enti rement revu par l'auteur. Les recherches effectu es depuis la premi re (...) publication (1975) ont permis de compl ter plusieurs sections et d'y inclure des fragments nouveaux et des traductions r centes. Une bibliographie enti rement r vis e et deux nouveaux index viennent compl ter l'ouvrage. (shrink)

In the context of the blurring of boundaries between club and theatre, game and theatre, and party and theatre, experiential spectatorship is spilling into the mainstream. This article starts from the recognition of the rapid rise of the experience economy as a turning point in consumer culture towards a specific appeal to the sensory body. The definition of experience in this analysis is key and a distinction is made between experience as it passes moment by moment, erlebnis, and experience as (...) something that is cumulatively built up over time, erfahrung. This paper asks, in a society defined by the crisis of experience, does this rise of the experiential in theatre simply reflect the reduction of experience to a series of consumable sensory moments or is there a mode of experience modelled through performance interaction which moves both beyond this established mode of experience and also beyond the notion of experience as cumulatively formed wisdom? Drawing a parallel between established popular cultural practices of the body and those of the spectator in spectacular promenade performance, Fuerzabruta is used as an illustrative example of popular experiential performance and Hwang’s The Road as an example of experiential performance in which a transformative aesthetic is made possible. (shrink)

Machine generated contents note: -- List of IllustrationsAcknowledgementsIntroductionImmanent authorship: From the Living Theatre to Cage and Goat IslandDisorganizing language, voicing minority: From Artaud to Carmelo Bene, Robert Wilson & Georges LavaudantImmanent imitations, animal affects: From Hijikata Tatsumi to Marcus CoatesPaying attention, participating in the whole: Allan Kaprow alongside Lygia ClarkEthical durations, opening to other times: Returning to Goat Island with WilsonIn-Conclusion: What 'good' is immanent theatre? Immanence as an ethico-aesthetic valueCodaBibliographyIndex.

Excerpt from Les Sceptiques Grecs Enfin le doute lui-meme n'est pas le scepticisme. C'est du doute seulement qu'on pourrait dire qu'il est a peu pres contem porain de la pensee humaine; car, pour un esprit qui reflechit, la decouverte de la premiere erreur suffit a inspirer une certaine defiance de soi; et combien de temps a-t-il fallu a des esprits un peu attentifs pour s'apercevoir qu'ils s'etaient plus d'une fois trompee? About the Publisher Forgotten Books publishes hundreds of thousands of (...) rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

I should like to begin this paper by thanking Anik Waldow for drawing my attention to a debate between Jean Jacques Rousseau and the philosophes about the proposal to build a theatre in Geneva, wit...

This book provides both a historical analysis of the philosophical problem of individuation, and a new trajectory in its treatment. Drawing on the work of Gilles Deleuze, as well as C.S. Peirce and the lesser-known Gilbert Simondon, Alberto Toscano takes the problem of individuation, as reconfigured by Kant and Nietzsche, into the realm of modernity, providing a unique and vibrant contribution to contemporary debates in European philosophy.

This paper explores the power of theatre to engage the public and my personal journey using theatre as a research tool in reproductive science. I argue that the capacity of theatre to simultaneously engage the minds and hearts of audience members qua research participants affords audience members the capacity to provide researchers with insightful comments informed by the scientific, social and tacit knowledge derived from the performance, integrated with their lived experience. Theatre is a particularly important research strategy when investigating (...) public understandings and desires about complex issues such as those related to reproductive and genetic science. (shrink)

Theatre & the Visual argues that theatre studies' preoccupation with problems arising from textual analysis has compromised a fuller, political consideration of the visual. Johnson examines the spectator's role in the theatre, exploring pleasure, difficulty and spectacle, to consider the implications for visual experience in the theatre.

It is the thesis of the paper that the arts of the twentieth century have gone much further in the criticism of customary modes of thought than have both the sciences and the various critical philosophies which exist today. Moreover, they have not only developed an abstract principle of criticism, they have also studied the psychological conditions under which criticism can be expected to become effective. Some plays and the theoretical essays of Ionesco are analysed as an example. It is (...) pointed out that Ionesco resembles Bacon in that he believes in an unchangeable basis of humanity from which all ideologies proceed. An attempt is made to free Ionesco from these dogmatic elements, theoretically, as well as practically (i.e. as regards the performance of his plays) and to utilize to the full his contributions to a theatre that is free of prejudice, and fully critical. (shrink)

En focalisant notre attention sur l'atelier comme lieu de formation des improvisateurs et improvisatrices de théâtre, cet article vise à réintroduire le Théâtre d'Improvisation dans le processus d'apprentissage qui l'accompagne. Dirigé par un·e chef·fe d'atelier chargé·e de la gestion des exercices, des consignes ainsi que des retours, l'atelier se construit comme un jeu interactionnel et discursif visant à transmettre des compétences à improviser. Ce processus suppose des modalités d'ajustements collectifs et de compréhension mutuelle entre les comédien·ne·s qui s'exercent (...) et le·la chef·fe d'atelier qui prend le rôle de conseiller·ère, d'évaluateur·rice et d'enseignant·e. En ce sens, le travail d'atelier relève d'une dynamique particulière en tant que performance avant la performance publique, impliquant d'élargir la notion d'exercice à ses débordements interactionnels. Au sein de ce cadre pédagogique, le retour, moment d'échanges en aval de l'exercice, devient un phénomène primordial. S'il recouvre différentes fonctions telles que l'évaluation, la critique ou le conseil, le retour offre aussi la possibilité de déréférencer le propos de l'exercice en question pour traiter du Théâtre d'Improvisation comme pratique. Le retour dans sa dimension épisémiotique permet dès lors de saisir le passage de l'exercice, comme phénomène éphémère et localisé à la pratique du Théâtre d'Improvisation, comme discipline stabilisée et collective. (shrink)

The subject of intercultural exchange is complex and demands that we keep the basic issues that shape our views of the world in mind. And one of these basic issues is what we mean by “European identity.” The ideological concerns over the norms of identity became necessarily entangled in the post-1989 interests and agendas of Europe’s various nations. So the great challenge for us as academics as well as for the policymakers in Brussels and Strasburg is to focus on these (...) dialectics. European identity is too varied to be a unitary and homogenous thing; indeed, one of the battles within it is between the advocates of a unitary identity and those who see the whole as a complex that is irreducible to a unified identity. In this article I explore how the theatre, in the aftermath of the Second World War, served as a laboratory for the investigation, analysis, and constuction of dramatic models that became a means of transcultural communication. As attested by the continuing success of the experimental approaches of Brecht, Grotowski, La Mama, and Suzuki, this endeavour reflected the struggle of people from different cultural backgrounds to understand and accept each other. One of the reasons the theatre continues to have the potentiality to promote transcultural integration is that it deals in concrete particulars with universal resonances. As I will demonstrate with examples from my own work in various countries, the production and directing of plays by these and other dramatists shows that it is only in the performance—by transforming the familiar into the unfamiliar, by making the habitual and customary seem strange and unexpected—that the motives, relationships, and events enclosed in the written play are released so as to stimulate the audience to re-examine their own contemporary realities. Transcultural theatre thus creates dramatic experiences that are adequate and responsive to the changing world of migration and mobility in which both practitioners and audiences actually live. As such it offers the kind of transcultural education that promotes communication and understanding and that fosters an open-eyed and open-hearted attitude to the changing realities of Europe. (shrink)

From oral culture, through the advent of literacy, to the introduction of printing, to the development of electronic media, communication structures have radically altered culture in profound ways. As the first book to take a critical realist approach to culture, Theatre, Communication, Critical Realism examines theatre and its history through the interaction of society’s structures, agents, and discourses. Tobin Nellhaus shows that communication structure—a culture’s use and development of speech, handwriting, printing, and electronics—explains much about why, when, and how theatre (...) has transformed. (shrink)

Distancing and then embracing constitutes a useful way of thinking about the paradox of aesthetic pleasure. However, the model does not account for live theatre. When live actors perform behaviors perceptually close to real life and possibly really experienced by the actors, audiences may experience autonomic reactions, with less distance, or may have to distance post-experiencing/embracing their emotions.

The London‐based Oily Cart theatre company aims to produce shows that are suitable forallyoung people. This paper closely examines one of their productions,Splish Splash, which was developed for children with profound and multiple learning difficulties. The paper's central purpose is to understand the value of this type of theatrical experience for these children. It argues that Winnicott's conception of play, and his account of the conditions that enable the capacity for play to unfold, provide a persuasive theoretical framework that makes (...) sense of Oily Cart's achievement. Winnicott's framework can integrate the views expressed (in interviews) by adults who were involved with or observed the show; arguably it is also corroborated by more recent infant research. (shrink)

Cet article comporte deux parties liées entre elles : l’une étudie le « manger cru » dans le régime alimentaire des Grecs, l’autre le rituel ômophagique dionysiaque. De l’étude conjointe des sources littéraires et épigraphiques, il apparaît que ce dernier pourrait consister en une séquence de gestes révélant l’ambiguïté du dieu, entre animalité, humanité et divinité, et s’accordant avec la pratique alimentaire des Grecs.

INTRODUCTION Is the theatre good? A reply is likely to come back: 'That is not the point, the question is what does it mean?' But here I want to reassert ...

This book discusses spaces of performance from formal opera houses to parks and graffiti around the world and is a companion toTheatre in Passing: A Moscow Photo-Diary. Drawing once again on Michel de Certeau's notion of a “second poetic geography,” this new volume examines prominent theatrical destinations —New York, London, and Paris—along with others that are often overlooked, including Canada, Mexico, and Turkey. In addition to indoor theaters, the book covers a variety of outdoor theatrical spaces, as well as street (...) theater. Like its predecessor,Theatre in Passing 2 is richly illustrated with photographs by the author and provides fascinating insights on the intersection of performing arts, visual culture, and photography. (shrink)

The Piraeus were certainly leased out to private individuals in classical antiquity. It has been suggested that this was common and was true even for the Theatre of Dionysus in Athens, and that this model was true for impermanent wooden theatres. This article argues a contrary position: that there is only one certain example of a leased theatre, which may for all we know have been unique. The other alleged parallel, the deme theatre in Acharnae, is argued to be wrongly (...) supplemented and explained. Some other epigraphical examples of theatres are cited for different funding mechanisms, and it is also argued that wooden theatres were neither leased nor necessarily impermanent. We have especially no reason to think that the Theatre of Dionysus was leased in the time of Theophrastus. (shrink)

Since the 1990s, there has been an extended debate among feminists and left-wing thinkers concerned with notions of justice and equality about the relationship between ‘redistribution’ and ‘recognition’ in contemporary politics. In this article, I examine the ways in which the issues of redistribution of resources and recognition are articulated in plays by contemporary Black and Asian women playwrights such as Rukhsana Ahmad, Tanika Gupta, Winsome Pinnock, and Zindika. I shall suggest that their theatre work, and experience of working in (...) the theatre, produce a dynamic and interdependent model of the relation between redistribution and recognition that ultimately suggests the need for recognition as the continuing primary concern of Black and Asian communities in Britain. This is evident in the plays’ contents, the theatrical forms employed by Black and Asian women playwrights (often naturalistic and issue-based), and the funding and theatre policies with which they engage. These, as I shall argue, produce tensions between the collective identities which they hail, for instance, through the appellation ‘Black playwright’, and the individual identities the playwrights seek to assert, requiring negotiations between the empowering as well as constraining demands of collective identities and the post-‘cultural diversity’ aspirations of long-term theatre politics. (shrink)

La comparaison de la teneur en étain de trois groupes d'échantillons, bronzes grecs géométriques, bronzes orientaux, bronzes grecs orientalisants, montre que c'est ύ partir de la date de leurs contacts avec le Proche-Orient que les métallurgistes grecs du Ier millénaire ont utilisé le bronze proprement dit, Cu+Sn. La comparaison des teneurs en fer et en plomb montre que les Grecs ont appris des Orientaux un certain nombre de procédés de travail du métal, lors de la réduction du métal ou du (...) martelage. L'étude métallographique confirme cette hypothèse. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:220 THEATRE AND RELIGIOUS HYPOTHESIS* We are placed in this world, as in a great theatre, where the true springs and causes of every event are entirely concealed from us.... David Hume La collection des idées s'appelle imagination, dans la mesure où celleci désigne, non pas une faculté, mais un ensemble des choses, au sens le plus vague du mot, qui sont ce qu'elles paraissent: collection sans album, pièce (...) sans théâtre, ou flux des perceptions.. Gilles Deleuze In Part III of Hume's Dialogues concerning Natural Religion the character Demea contests the analogy drawn by Cleanthes between an orderly world and a coherent, articulate speech, stating that, When I read a volume, I enter into the mind and intention of the author: I become him, in a manner, for the instant; and have an immediate feeling and conception of those ideas, which revolved in his imagination, while employed in that composition. To begin reading Hume's Dialogues with such false and naive premises would inevitably result in a failure to pick up on all the different voices in this text. In fact, no written text can really enable a reader "to enter into the mind and intention of the author." Moreover, such a predisposition on behalf of a naive reader will become further complicated by the processes of 'distanciation' and avoidance of a central point of view, which are brought into play by Hume in this text, where religion is being considered from a purely speculative point of view. Hume has in fact given the reader a clue in the introduction as to how 221 to approach reading the Dialogues. when Pamphilus, the narrator, expounds to his friend Hermippus the advantages of presenting a discussion in the form of a dialogue rather than as a direct statement. He argues that by using a dialogue it is possible to avoid any overtones of an author addressing his reader, or a pedagogue his pupil (D 127). Confronted with a text that is paradoxically both lucid and unclear, any reader whose attitude is still limited by certain metaphysical categories might very well want to know who is actually Hume's spokesman and who he is really addressing in this discussion on the nature and existence of God. These questions are in fact related to traditional oppositions, such as that between a central and subsidiary point of view in a dialogue; between the essential and non-essential of a discussion. In his Dialogues, Hume creates a second degree of separation between himself and the characters involved in the discussion by using the literary process of 'distanciation', when he introduces the fictitious character Pamphilus, who tells Hermippus of the discussions he has heard. From this point of view the style of the text is immediately more disconcerting than Cicero's De Natura Deorum, (which inspired Hume's text), as Cicero does identify himself with his narrator, such that any effect of distanciation is far smaller. Cicero's narrator does, however, emphasize that the multiplicity of points of view in this text results in a certain degree of scepticism and suspension of judgement: "Though it is possible that they are all of them false, it is impossible that more than one of them is true" (p. 71). As Hume does in his Dialogues, Cicero here tries to avoid imposing a 222 central point of view or a single authoritative angle to his discussions, as if given by a teacher; in fact, "in a discussion of this kind our interest should be centred not on the weight of the authority but on the weight of the argument" (p. 73). Thus, wearing the mask of Pamphilus, Hume can play an ironic role, without having to give a central point of view, by having his character present the idea that "reasonable men may be allowed to differ, where no one can reasonably be positive" (D 128). These two texts therefore use the same process of disassociation from a central truth by using a supposedly neutral narrator. When reading the Dialogues one can rely neither on the authority of the author, as he has hidden himself away in the shadows backstage, nor on that... (shrink)

This essay describes a performance by the Greek theatre collective, Blitz Theatre – Late Night – as constituting a theatrical response to current political crises in Europe. What I call a ‘theatre of the impasse’ seeks to bear witness to the experience of impasse, where impasse and crisis must be fundamentally distinguished. Impasse is revealed where crisis admits of no decision adequate to the situation; and, correspondingly, where theatre loses faith in the power of decision to resolve its conflicts. I (...) situate these claims with reference to Carl Schmitt’s and Walter Benjamin’s dispute over political theology, arguing that a theatre of the impasse might be thought as an ‘allegorical’ theatre in Benjamin’s terms. Blitz Theatre’s Late Night reveals, thereby, the concealed truth of the impasse: a founding human sociality experienced as world immanence. In doing so doing, I argue, this theatre frustrates every hope for the kind of political theology of the stage envisaged by Schmitt. I read the performance, instead, as an elegy to Nancy’s inoperative community, at the centre of which are the figure of lovers, bound to, yet unable to take possession of, one another. Staging impasse, Late Night allegorises the fragile human community, exposed in its fundamental precarity. (shrink)

What is ethics and what has it got to do with theatre? Drawing on both theoretical material and practical examples, Ridout makes a clear and compelling critical intervention, raising fundamental questions about what theatre is for and how audiences interact with it.

This chapter examines the relevance of Gilles Deleuze's work for the works of Italian director Carmelo Bene. It argues that Deleuze's One Less Manifesto conceived the theatre of continuous variation, particularly Bene's theatre, as one that is initiated and sustained by subtraction. It also questions the compatibility of Deleuze's vitalist concept of subtraction with Bene's own concept of the subtractive.

The present essay discusses how women calypsonians in the English-speaking Caribbean use Calypso performances as a theatrical platform to offer a gendered critique of the nation and engage in a dialogue, which despite exhibiting pride in the nation, questions its various exclusions in ways that seek to redefine dominant constructions of the nation as ‘we’. Not only do they offer a vision of the nation and its cultural aspects that is more inclusive, they also speak out against cultural and political (...) oppression. I analyse specific performances by Singing Sandra (Trinidad) and Queen Ivena (Antigua) from my position as an ‘indigenous-outsider’ and ‘outsider within’ in order to demonstrate that Calypso performance is a post-colonial form of theatre in the English-speaking Caribbean that is being used by women as a site for feminist action and agency. (shrink)

Over the past 30 years, the Australian state of Victoria has made numerous reforms to a set of jury directions purporting to address concerns that rape trials do not adequately respond to the reality of sexual offending in the community. Building on work identifying the predominant narratives mobilised in rape trials, in this article we consider whether the way in which a jury consumes information during a trial explains why the jury directions, positioned and utilised as they are, appear to (...) have been inadequate to the task of enabling juries to re-imagine evidence through alternative narrative frameworks. (shrink)