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Contents

List of Figures viii Notes on Contributors ix Acknowledgements xviii

Introduction: The Ethical Drive 1 Bryan Reynolds

Chapter 1 The ‘F’ Word, Feminism’s Critical Futures 8 Elaine Aston

Chapter 2 Public Sphere 16 Christopher Balme

Chapter 3 Paramodern 24 Stephen Barker

Chapter 4 Digital Culture 39 Sarah Bay-Cheng

Chapter 5 Misperformance 50 Marin Blažević and Lada Cˇale Feldman

Chapter 6 Interval 57 Dylan Bolles and Peter Lichtenfels

Chapter 7 Neuroaesthetics, Technoembodiment 65 Susan Broadhurst

Chapter 8 Recursion, Iteration, Difference 76 Johan Callens

Chapter 9 Living History, Re-enactment 84 Marvin Carlson

Chapter 10 Performance Philosophy 91 Laura Cull

Chapter 11 Translation, Cultural Ownership 101 Maria M. Delgado

Chapter 12 The Intense Exterior 109 Rick Dolphijn

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Chapter 13 Cosmopolitanism 117 Milija Gluhovic

Chapter 14 Cultural Diversity 125 Lynette Goddard

Chapter 15 Citizenship, the Ethics of Inclusion 133 Nadine Holdsworth

Chapter 16 Installation, Constellation 141 Lynette Hunter

Chapter 17 Spatial Concepts 156 Silvija Jestrovic

Chapter 18 Consensus, Dissensus 164 Adrian Kear

Chapter 19 Counterpropaganda, Resistance 174 Suk-Young Kim

Chapter 20 Ekstasis 181 Anthony Kubiak

Chapter 21 Social Somatics 185 Petra Kuppers

Chapter 22 Globalization, the Glocal, Third Space Theatre 193 Carl Lavery

Chapter 23 Theatre of Immediacy, Transversal Poetics 201 Mark LeVine and Bryan Reynolds

Chapter 24 Time in Theatre 215 Jerzy Limon

Chapter 25 Empathetic Engagement 227 Bruce McConachie

Chapter 26 Theories of Festival 234 Christina S. McMahon

Chapter 27 Magic in Theatre 244 Mihai Maniutiu Translated from the Romanian by Cipriana Petre

Chapter 28 Animality, Posthumanism 248 Jennifer Parker-Starbuck

Chapter 29 Postdramatic Theatre 258 Patrice Pavis

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Chapter 30 Evo-Neuro-Theatre 273 Mark Pizzato

Chapter 31 International/ism 281 Janelle Reinelt

Chapter 32 Transculturation 289 Jon D. Rossini

Chapter 33 Social Practice 297 Maria Shevtsova

Chapter 34 ‘City’ 304 Nicolas Whybrow

Index 314

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Introduction: The Ethical Drive

Bryan Reynolds

This book is both long overdue and ahead of its time. It fills gaps as it opens gateways. It investigates as it expands. With 34 chapters by an inter- national lineup of distinguished scholars, each on topics their authors consider paramount to the future of performance studies, the aim of Performance Studies: Key Words, Concepts and Theories is to introduce and welcome students to that future while contributing productively to the field’s wide-ranging, adventurous, diverse and conscientious nature that has worked to make performance studies so innovative, valuable and excit- ing. As an academic field of research and teaching, performance studies is about 50 years old.1 Although analysis of on-stage performance, such as in a theatre or circus, and off-stage performance, such as context-specific social interactions or political protests, has been common to academic study since antiquity, it was not until the later 20th century that scholars began to recognize performance studies as its own field, and not as a subfield of theatre, cultural, music, or visual studies, anthropology, psychology or sociology, among others. This led to the establishment of bachelor and doctoral degrees in performance studies as well as performance studies departments, organizations, journals and conferences. Thus, performance studies is not beholden to any one academic discipline or method in particular and is enthusiastically committed to interdisciplinary analysis of multiple variables to any performance, variables potentially related to everything from authorial intention to means of artistic production and dissemination to audience experience and political impact. Performance studies began as an interdisciplinary field, and because of its inclusive approach, combined with its dedication to researching and communicat- ing across fields, arts disciplines and cultures, performance studies is now one of the most transdisciplinary and fast-growing fields in universities today. Because of performance studies’ extensive scope of subject matter, which includes the various theories and methodologies it uses to explore performance, students learn to better comprehend performance – whether in a theatre, workplace, or the street – as an operative concept and lived factor in everyday life. Working along these lines, the primary purpose of this book is to introduce students to the directions in which the field of

1 Copyrighted material – 9780230247307 Copyrighted material – 9780230247307 Introduction: The Ethical Drive performance studies is moving through the key words, concepts and theo- ries that are shaping its future. My intention here is to highlight the methodology that the diverse chap- ters collectively embody. In other words, it is not my intention to introduce the individual chapters, but to introduce and discuss a mode of critical inquiry that is proposed by the contributions to performance studies that the chapters in this book jointly comprise. In doing this, I want to draw attention to what I term ‘the ethical drive’ that I believe has significantly fueled the field of performance studies since its inception, over the past 20 years especially, and that directly informs its future, as can be seen in the chapters assembled here. The ethical drive refers to the field’s commitment, expressed by scholars working within the field, to critically and construc- tively address, through analysis of on- and off-stage performance, issues related to sexual, gender, class, race, cultural, aesthetic, ethnic and national differences, in the interest of fostering shared understanding and respect, social equality and the betterment of life for all people. The idea to edit a volume of new and forward-looking chapters on key words, concepts and theories in performance studies was inspired, first, by the longstand- ing need for such a book for introductory courses in performance, theatre and cultural studies. Second, the benefits to the publication of a volume with the originality, breadth and rigor demonstrated by the chapters are deep and far-reaching. This is not just for the fields of performance, theatre and cultural studies to which the chapters specifically contribute but also, as models in methodology and objective, for all fields aspiring to trans- disciplinarity: researching, communicating and collaborating within and across traditional disciplinary boundaries. Hence, the volume contributes inwardly and outwardly at the same time. It performs the field’s impor- tance well beyond audiences – scholars and students – directly invested in performance studies while it reinforces, for the academy at large, the disci- pline’s distinctiveness, constitution and authority as a site for the explora- tion and transfer of specific knowledge. As a necessary component to the structure of their investigations and statements, the chapters purposefully connect performance studies to a number of disciplines and subdisciplines, the aims of which it often shares. These include critical theory, political science, ethnography, social geography, cognitive neuroscience, philoso- phy, translation studies and visual arts. The key words, concepts and theories posited by the chapters do not stem from a drive for the new, the trendy, or the marketable. Although there is considerable pressure within performance studies, as within most academic fields, to come up with a new concept or approach, such moti- vation is not the feeling one gets from reading the chapters. This indiffer-

2 Copyrighted material – 9780230247307 Copyrighted material – 9780230247307 Bryan Reynolds ence to such opportunism was a goal of mine when determining which chapters to include, but it was also an aspiration easily achieved within the field. The ethical drive at the core of performance studies makes the field serious, benevolent and activist. However idealist and utopian this might sound, I believe that the field is occupied predominantly by people hoping to contribute positively to the world through their scholarship and teach- ing. The ethical drive of performance studies is the field’s common denom- inator, its most impressive attribute and its greatest source of inspiration. It does not take as its primary objective the determining of right and wrong either generally or within a given context. Instead, it is about revealing the stakes, contingencies, perspectives and other factors that come into play any time humans interact with each other, and in the cases discussed in this volume, when a modality of performance is involved – performance defined here as intentional expression for an audience. The ethical drive to performance studies is beneficent, affirming and generative rather than judgmental, divisive and policing. In their identifications, formulations and delineations of key words, concepts and theories, the contributors have conducted what I would call, using the terminology of transversal poetics, ‘fugitive explorations’.2 Trans- versal poetics is a combined sociocognitive theory, performance aesthetics and critical methodology for which process, mobility, adaptability, inclu- sion and affirmation are vital. Simply put, transversal poetics is the name of an approach to conducting research, like psychoanalysis or structural- ism, except that it is not restrictive or absolute, and thus could draw from psychoanalysis and structuralism if determined to be in the best interest of a particular analysis.3 As a praxis (theory/method/practice) of transversal poetics, fugitive explorations reveal elusive, marginal or hidden objects – narrative, structural, performative, thematic, semiotic, institutional, etc. – in other words, the ‘fugitive elements’ of the subject matter under investiga- tion. This could reveal, for instance, how the fugitive elements have been and can be overlooked, masked or contextualized to generate, undermine or uphold meanings and realities. Fugitive explorations do this by moving ‘investigative-expansively’: they call for analyzing relationships between variables immediate to the chosen subject matter as well as relationships of the variables to other variables, such as those at the margins or outside the subject matter’s vicinity (whether structural, disciplinary, thematic or geographical). In turn, analytical reframing occurs processually in adap- tive response to new information so that perspective on the subject matter, or the subject matter itself, changes and, consequently, the exploration reconfigures. This approach avoids myopism, reductionism and totaliza- tion. It does not define through negation or exclusionary logic. It allows

3 Copyrighted material – 9780230247307 Copyrighted material – 9780230247307 Introduction: The Ethical Drive multi-perspectivalism, relationality and transformation to remain possible throughout and beyond research, analytical and interpretive processes. To be sure, consistent with transversal poetics, an underlying premise and common ground to the chapters is the acknowledgement and acceptance of difference; that positive differentiation is doable and advantageous. Examples throughout the chapters of fugitive elements investigative- expansively discussed are numerous, so I will underscore only some here. The following examples also reflect a primary way in which I intend students to use this book. The key word, concept or theory that is the focus of each chapter enables access into particular streams of discourse within performance studies that relate to modes of performance and how we might interpret and relate to them. In so doing, all the chapters contain themes, if not overlapping or straightforwardly relatable topics, which flow with, intersect, or pass through the discourses to which other chapters contrib- ute. Identifying the connections between the chapters, then, however fugi- tive to one another, becomes one of the book’s most valuable exercises. Marin Blaževic´ and Lada Cˇale Feldman identify ‘misperformance’, which refers to a performance inconsistent with the performer’s inten- tions, with its inversions, shifting of parameters, and failings, as differen- tial opportunities for positive creation. Blaževic´ and Feldman bring the often discriminated against category of failure, for instance, into positive light and productive play. Misperformance is affirmed both as performance practice, such as on the stage, and as a measure for evaluation and inter- pretation. Blaževic´ and Feldman’s understanding of misperformance reso- nates with Dylan Bolles and Peter Lichtenfels’ concept of ‘intervallic play’. For Bolles and Lichtenfels, ‘intervallic play’ refers to innovative space of opportunity and unpredictability achieved through disjunction, such as when a performance is contradictory or apparently, as Blaževic´ and Feld- man would put it, ‘misperformed’. Bolles and Lichtenfels demonstrate how trained control of dissonances in the vocal delivery of lines in a stage play, especially when the audience is expecting consonance, can gener- ate intervallic play through which the actor can achieve creative agency not accessible, for instance, when constrained by traditional rules for the pronunciation of Shakespeare’s poetry. Such dissonance allows the actor to realize affective presence as well as a performance free of restrictive coor- dinates that remains fugitive to performances without the equivocal and negotiable play space of interval. For Johan Callens, following the Deleu- zian idea that difference precipitates new becomings (physical, aesthetic, subjective, conceptual, etc., changes into something else), ‘recursion’ refers to the creative possibilities as well as the limitations located within the differences (potentially ‘misperformances’ and ‘intervallic play’) that occur

4 Copyrighted material – 9780230247307 Copyrighted material – 9780230247307 Bryan Reynolds necessarily as result of attempts to repeat/reproduce performances, as is typically the case in theatre. This idea points to Marvin Carlson’s essay on ‘living history’ (performances of historical events), in which he empha- sizes the positive value of misrepresentation in the re-enactments, that it is the irreproducibility of the past that makes efforts to reproduce them so challenging for theatre makers and thrilling for audiences. What remains inaccessible or non-representable serves to make the represented all the more precious despite or in turn because of the actual history fugitive to the performance (that moment in space/time is forever in the past).4 In her essay on ‘translation’ and ‘cultural ownership’, Maria Delgado shows how translation always involves migration, the movement of differences across domains, and maintains that it is ethically imperative that we remain aware of the migrancy involved. This is crucial as we determine the meaning of a text in a different language and cultural context from which it emerged and for which it was intended, for we must not permit its original meanings and values to become fugitive elements in the process of trans- lation or interpretation. In her essay on ‘social somatics’, which refers to our embodiment or embodied experiences of the social systems of which we are a product and in which we live and operate, Petra Kuppers explains that the commonly used term in performance studies, ‘somatic knowledge’, which usually refers to knowledge inherent to or grounded in the body, is misleading. Instead, according to Kuppers, such ‘knowledge’ is influenced by multiple and fluctuating interactions, images, media, textures, intensities and practices. She proposes social somatics as an alternative mode of inquiry, logic and performance practice, for it produces new spaces as it insists on our political and ethical responsibility to imagine and embody ourselves other- wise – to occupy bodies and therefore subject positions radically different from our own. This makes empathy and understanding possible. In these examples, the authors identify elements in certain discourses and practices that have been ‘fugitive’ to established or previous under- standings of the phenomena in question. They locate these in, or in the interstices or results of, what Michel Foucault calls ‘points of diffraction’, ‘points of incompatibility’ and ‘points of equivalence’.5 As a result, by bring- ing the fugitive to the forefront, they produce opportunities by which to better comprehend the means by which elision, cover-up, marginalization and repression often occur. Insofar as they emphasize interconnectivity and inclusion, they also avoid negation, reductionism and totalization. In doing so, they elucidate mechanisms and operations of representation and presentation, repetition and difference, and rehearsal and performance. According to Gilles Deleuze, who, unsurprisingly, is cited in more than a quarter of the chapters in regard to questions of inclusion, connectedness

5 Copyrighted material – 9780230247307 Copyrighted material – 9780230247307 Introduction: The Ethical Drive and multiplicity, repetition always involves difference and discovery, and the process of differentiation generates variation more than resemblance and identification. Hence, differentiation is always positive and creative, comprising heterogeneous series always open to new connections, flows and becomings. As Deleuze eloquently puts it:

We refuse the general alternative proposed by infinite representation: the indeterminate, the indifferent, the undifferentiated or a difference already determined as negation, implying and enveloping the negative (by the same token, we also refuse the particular alternative: negative of limitation or negative of opposition). In its essence, difference is the object of affirmation or affirmation itself. In its essence, affirmation is itself difference.6

For the contributors to this volume, and insofar as they represent perfor- mance studies, affirming difference and understanding affirmation as a positively differentiating and open-ended process is the ghost in the machine of performance studies’ ethical drive. In his essay, ‘Theatrum Phil- osophicum’, Foucault writes: ‘Difference can only be liberated through the invention of an acategorical thought.’7 As a collective of freethinkers, or at least thinkers actively aspiring to such freedom, the contributors implic- itly invite readers to engage their chapters with the conscientiousness, critical wherewithal and ethical drive with which they have engaged their subject matter.

Notes

1 For a concise and insightful history of the field of performance studies, see Marvin Carlson, Performance: A Critical Introduction (New York: Routledge, 2003). 2 For more on ‘transversal poetics’, ‘fugitive explorations’, ‘fugitive elements’ and the ‘investigative-expansive mode of analysis’, as well as related discussions on methodology and ethics, see, among other works, Bryan Reynolds, Transversal Subjects: From Montaigne to Deleuze after Derrida (Basingstoke: Palgrave Macmil- lan, 2009) and Transversal Enterprises in the Drama of Shakespeare and his Contem- poraries: Fugitive Explorations (Basingstoke: Palgrave Macmillan, 2006). 3 For detailed discussion of psychoanalysis and structuralism as approaches to critical inquiry, see M.H. Abrams and Geoffrey Harpham, A Glossary of Literary Terms, 10th edn (Belmont, CA: Wadsworth, 2014). 4 Deleuze captures this idea, albeit somewhat inversely, when he writes of Marx’s critique of the Hegalians who mediate with regard to history: ‘to the extent that history is theatre, then repetition, along with the tragic and comic within repe- tition, forms a condition of movement under which the “actors” or the “heroes”

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produce something effectively new in history’. In Difference and Repetition, trans. Paul Patton (New York: Columbia University Press, 1994), 10. 5 See Michel Foucault, The Archaeology of Knowledge and Discourse on Language, trans. A.M. Sheridan Smith (New York: Pantheon Books, 1977). 6 Deleuze, Difference and Repetition, 52. 7 Michel Foucault, Language, Counter-memory, Practice: Selected Essays and Inter- views, ed. Donald F. Bouchard (Ithaca: Cornell University Press, 1977), 186.

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1 The ‘F’ Word, Feminism’s Critical Futures

Elaine Aston

That feminism has made significant interventions into theatre and perfor- mance scholarship is without question. However, at this moment in time, what is far less certain are the futures of feminism and feminist theatre scholarship. Co-editing Feminist Futures?: Theatre, Performance, Theory, Gerry Harris and I explain how the question mark in our title is crucial: ‘this question mark poses the future of feminism and the relation between femi- nism and theatre and performance as a question and as being in question’ (Aston and Harris 2006: 1). The purpose of these brief reflections on the ‘f’ word is to consider the current, uncertain state of feminism and to think of the possible ways in which feminism, given its state of uncertainty, may continue to have an impact on the scholarship and practice of theatre. In order to reflect on these future feminist-theatre uncertainties, I need to take a contextualizing step back into the feminist-theatre traditions of the past.

Feminism and theatre: beginnings

If feminism ‘begins’ anywhere, it begins with feelings of gender-based exclu- sion: with the growing awareness that women’s lives have been marginal- ized and trivialized by male-dominated social systems and cultural values. For women theatre academics such as myself who, in the 1980s, were part of the ‘first wave’ feminist-theatre generation in the UK, it was this sense of exclusion that fuelled our desire to see women’s theatre included, rather than excluded, from the syllabus. To achieve this inclusivity required femi- nist interventions into all three key areas of traditional theatre studies – history, theory and practice. At first, feminist attentions concentrated largely on theatre history, mainly because the idea of recovery generally was important to feminism as women recognized that they had been hidden from history and culture, and so were keen to uncover a silenced past to ensure that they would be written into future histories. Recovering women from theatre history,

8 Copyrighted material – 9780230247307 Copyrighted material – 9780230247307 Elaine Aston recovering or finding plays by women that offered more roles for women and a greater attention to the representation of women’s experiences, chal- lenged the male-dominated theatre canon in terms of both the study and practice of theatre (see Aston 1995: Ch. 2). In terms of theatre practice, this began to suggest ways out of the difficulties created by the gender imbalance between the overwhelmingly large numbers of female to male students taking theatre courses, versus the relatively few decent roles for women in the male-dominated theatre canon. Previously this had meant adopting various canny gender strategies to adapt ‘classical’, ‘canonical’ texts to meet the gender demands of production contexts: the cross-casting of women in male roles or multiple shared castings for women so that you might have a show, for example, that featured Chekhov’s thirty sisters, or one that had ever so many Juliets and one ‘lucky’ Romeo. Alongside this challenge to canonical texts and the emergence of gender- aware practices came the theory explosion of the 1980s as theatre studies, along with many other disciplines, began to transform its modes of think- ing through theoretical frameworks; was open to and opened up by new ways of seeing as it connected and intersected with a diverse body of criti- cal theory. Semiotics, understanding the languages of theatre as a complex sign system, shifted critical attention away from what to how meaning is created and produced, while feminism had its own political and theoretical concerns regarding the cultural production of ‘Woman’ as sign and its own post-Lacanian objections to the ‘lack’ of a female subject. In this context, the critical turn towards French feminist theory proved highly influential. Ideas from this particular ‘body’ of feminist theory, such as Hélène Cixous’ concept of an écriture feminine, were taken up, explored, adapted and translated into practices that aspired to challenge the objectifying male gaze of mainstream theatre texts and production contexts. In brief, the idea of ‘writing’ the body as a means of giving ‘voice’ to the experiences of women repressed and marginalized by patriarchal language and culture constituted an important ‘stage’ in the evolution of feminist ideas and practice. Indeed, for a moment in the late 1980s, it very much appeared as though feminist-theatre futures would lie with the possibilities of staging a ‘feminine’ language that would ‘speak’ differently to us as women.

Enter gender

However, in the 1990s, things were to take a rather different critical turn, by turning away from the idea of embodying language through an idea of writing the feminine towards the idea of the Butlerian ‘beyond gender’

9 Copyrighted material – 9780230247307 Copyrighted material – 9780230247307 The ‘F’ Word, Feminism’s Critical Futures project that instead offered the critical promise of a subject deregulated by the governance of gender norms. Important though the ‘beyond gender’ project has been, at the same time it has had the effect of confining ‘gender troubles’ to an overarching grand narrative of anti-essentialism. As Sue- Ellen Case (1996: 12) cautions in respect to feminist and queer politics, poststructuralist, anti-essentialist theorizing risks ‘operat[ing] in the refined atmosphere of “pure” theory and writing’, thereby ‘abandoning earlier materialist discourses that signalled to active, grassroots coalitions while claiming a less essentialist base’. In brief, as a critical manoeuvre, she warns that it constitutes a ‘race into theory’ that moves ‘away from the site of material interventions’ (37). The ‘race into theory’ has also proved problematic for the relationship between theory and practice in the field of feminism and theatre studies. In the past, as previously explained, thinking feminism evolved through the interplay of feminist theorizing and gender-aware practice. The theatre of Caryl Churchill, arguably the most influential of women playwrights in the ‘first wave’ of feminism and theatre scholarship, helped tocreate ideas about what constituted feminist-theatre practice as her plays variously showed what could be done to demonstrate and alienate oppressive regimes of class, ethnicities, sexualities and gender. But this since has tended to give way to a hierarchical, dualistic frame where practice is relegated to a colonized ‘other’ serving a theoretical end in which the specificity of the performance, the practice, is lost to modes and models of interdisciplinary enquiry (see Aston and Harris 2008: Ch. 1). In retrospect, it is perhaps not surprising to find this race into ‘pure’ (gender) theory coinciding with the decline of feminism as a political movement. Without the grassroots activism, the feminism of the streets and the protests that took place outside the academy and the groundswell of women practising theatre professionally, forming their own companies and collectives as they had done in the 1970s and 80s, then the world of academic ideas became increasingly divorced from social realities, and in theatre, theory was more inclined to split off from practice. The decline in feminism generally is, in part, consequent upon femi- nism’s own fragmentation – specifically, the rise of identity politics and the need to acknowledge differences that, as a result, made it hard to iden- tify with ‘women anything’. While feminism struggled with the divides of its own making, it also had to contend with the climate of a backlash against feminism and the generational divide between feminists of the 1970s generation and younger generations of women. Younger women have tended to distance themselves from the ‘f word’, not least – albeit not exclusively – on account of deeming the battle for women’s liberation as

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Index

Note: Illustrations/photos are in bold. Index items in notes or bibliographies are identified by ‘n’.

Abramovi´c, Marina, 20, 21–2, 149, 297 Articulation, 54, 138, 141, 143, 148, Acculturation, 289, 290 153, 154n Adorno, Theodor, 28, 52, 236, 263 Articulatory space, 206–7, 209, 212, Affect, 11, 15n, 45, 115n, 145, 150, 152, 214n 234, 236, 280n Arts Council England (ACE), 125–9, Affects, 115, 143, 148 131n, 133, 140 Information and, 40, 42 Asylum seekers, 119–20, 134–6, 139, Affective, 14, 182, 201, 206, 208, 227, 140n 231–2, 233n, 235, 280n, 285 Autism, 231–2 Affective capacity, 245 Affective presence, 4, 208, 211 Baars, Bernard, 278 Affectivity, 249 Badiou, Alain, 168–72 Afformance art, 52–3 Bailes, Sara Jane, 54 Afformative, 52–3 Barnstone, Willis, 182–4 Afropessimism, 148, 150, 155n Barthes, Roland, 104, 182 Agamben, Giorgio, 171, 173n, 204–5, Bateson, Gregory, 113, 115 214n Batson, C. Daniel, 228–9, 233n Bare life, 165, 214n, 205 Baudrillard, Jean, 139, 266 Ahmed, Sarah, 12, 14, 15n Bauman, Richard, 238, 241n AIDS, 41, 82, 130 Bausch, Pina, 109, 302 Alba, the GFP bunny, 71, 74n, 251 Beckett, Samuel, 31, 34–6, 53, 94–5 Algeria, 196–8 Waiting for Godot, 34–6 Allen, Kerri, 294–5, 296n Benhabib, Seyla, 119–20, 124n, 134, Althusser, Louis, 209, 214n 140n, 285, 288n Animality, 171, 248–56 Benjamin, Walter, 42–3, 103, 105, 107n, Anthropocene, 37, 255 149, 224n, 309–11 Anthropocentric 26, 110, 249–51, Arcades Project, 311 253–4 One-Way Street, 310–11 Anthropocentric genesis, 110 Billington, Michael, 136, 140 Anti-essentialist/ism, 10, 11 Bioart, 39, 71, 250–1, 253 Antony and Cleopatra, 59–62 Biopolitics, 40–2, 44 Appadurai, Arjun, 281–2, 284–5 BIPED, 66, 73 Scapes, 281 Black Bloc, 204, 206–7, 213, 214n Arab Spring, 46, 201, 312n Black theatre, 125–30, 132n Arab uprisings, 203, 206–7 Blanchot, Maurice, 32, 36 Arendt, Hannah, 134 Blue Bloodshot Flowers, 66, 67, 72 Arnieville, 189–91 Bouazizi, Mohamed, 201, 202, 203–5, Arrizón, Alicia, 290, 292, 294 207, 208, 209, 211–13 Artificial intelligence, 66, 255 Becomings-Bouazizi, 211–12

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Bouazizi-space, 207–9, 212 Cultural diversity, 125–31, 132n Bourdieu, Pierre, 43, 299–302 Cunningham, Merce, 66, 74n, 110–11 Habitus, 302 BIPED, 66, 73 Bourriaud, Nicolas, 304–5, 307–9, 312n Curtis, Jess and Scaroni, Maria, 144 Braidotti, Rosi, 249–50, 251 Symmetry Project, 145 Brecht, Bertolt, 51, 59, 92, 149, 228, Cybernetics, 41 233n, 263, 269, 302, 309–10 Cyborg, 250, 251, 255 Verfremdungseffekt, 59, 149 Debord, Guy, 40–5, 148n, 306 Cardboard Citizens Theatre Company, Deconstruction, 71, 259, 261, 266–7 133–6, 137, 138–9 Deleuze, Gilles, 5–6, 30, 76, 92–3, 97–8, Carlson, Marvin, 102, 103, 107, 287–8 110, 115, 187 Carter, Kevin, 164–5 Deleuze, Gilles and Felix Guattari, 182, Casarino, Cesare, 40–4, 46 184, 187, 250 Catalan, 101, 105, 151–2 De Menezes, Marta, 71–2, 72, 74n Catharsis, 150, 183–4, 274, 276 Denmark, 120–3, 124n, 227, 298 Catholic Church, 29, 176, 310 Derrida, Jacques, 30, 33–5, 91, 104, 113, Central Java, 112–14 118, 146, 149, 258, 266–7 Chaudhuri, Una, 156–7, 163n, 250 Différance, 30–3, 36, 150 Cheah, Pheng, 117–19 Diachronic, 17–18 Chekhov, Uncle Vanya, 229–30 Diaghilev, Sergei, 17–18, 80 Christianity, 195, 210 Différance, 30–3, 36, 150 Churchill, Caryl, 10, 150 Digital, 39, 65–6, 72–3, 146, 220 Citizenship, 120, 122, 133–40, 141–2, Archives, 209 167, 204, 285, 295 Culture, 39–47, 249 ‘City’, 304–11 Domain, 41 Cixous, Hélène, 9, 186–7 Film, 150 Clark, Michael, 81–2 Gestures, 45 Coe, Sue, 251–2, 256n Humanities, 39–40 Cognitive neuroscience, 65, 73–4n Media, 40, 76, 220 Cognitive science, 227–8, 273 Movements, 42 Cohen, Simon Baron, 231, 233n Opportunity, 131 Colebrook, Claire, 109, 115n Photography, 22 Colonial Williamsburg, 86–7 Reincarnation, 73 CommuniTIES, 11, 13–15 Sound, 67 Conceptual territory, 211, 214n Technology, 40, 45, 70, 73 Conductors, 205–11, 213n, 214n Dolan, Jill, 14, 161 Coniglio, Mark, 70, 74n, 75n Donald, Merlin, 277 Consensus, 167–8, 171 Donger, Simon, 254, 256n, 257n Constellating, 142–3, 149–50, 152–3 Draper, Michele, 133, 140n Constellation, 141–53 Dramaturgy, 264, 265, 269, 270, 271 Contemporary dance, 109–114, 115n Shifting, 55 Contemporary Theatre Review, 242n, 281–2, 288n, 303n Eddy, Martha, 185, 191n Corporations, 43, 48n, 73, 210 Edinburgh International Festival, 234, Cosmopolitanism, 117–23, 281, 287 236, 241n, 242n Subaltern, 119 Edwards, Barry, 67, 68, 74 Critchley, Simon, 168–9, 173n Egypt, 204, 207, 213, 214n Critical Art Ensemble (CAE), 20–1, 23n, Einfühlung, 227–8, 262 253, 255 Ekstasis, 181–4

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Embodiment, 5, 42n, 77, 94, 185–6, Genetic, 43, 48n, 71, 210–11, 231, 249, 192, 209, 244, 300 274–5 Emergent, 141, 143, 147, 153, 204 Biogenetics, 249 Empathy, 5, 148, 150, 152, 212, 223, Experiments, 274 227–33 Mutation, 71, 210 Affective, 229, 230–2 Sequencing, 43, 252 Cognitive, 229–31 Gesture, 35–6, 45–6, 58, 109, 111, 157, Emulative authority, 210–12, 214n 185, 219–20, 225n, 253, 275, 277, Enlightenment, 25–8 310 Ensemble theatre, 298 Gestus, 52–4, 302 Epochs, 24, 27, 30, 182 Gil, José, 109, 111, 115 Eyecon, 68, 94n Gilbert, Helen, 118, 120, 124, 287, Exception, state of, 171, 204–5, 211 288n, 291, 296n Exceptionalism, 211, 212 Glissant, Edouard, 234 Evo-neuro-theatre, 273–80 Globalization, 118–23, 124n, 134, 142, 193–200, 237, 267, 281–3, 288n, 298 Facebook, 43, 48n Glocal, 193–6, 199, 283 Fanon, Franz, 63 Graham, Martha, 59, 109, 115n Feminism, 3–15, 123, 154n, 191n, 268 Grahamstown’s National Arts Festival And theatre, 8–15 (NAF), 238–9 Feminist Research Working Group, Grotowski, Jerzy, 92, 184, 298 13–14 Grundy, Kenneth, 238–9 Islamic, 123 FESTAC, 237–8 Habermas, Jürgen, 16–21, 23n, 118, Festivals, 104, 234–40 124n Fifth wall, 216, 217, 224n Bourgeois public shere, 16–19, 23n Film philosophy, 92, 94–6 Öffentlichkeit, 17, 23n Finter, Helga, 258 The Structural Transformation of the Folds, 109–10, 114, 157, 187 Public Sphere, 16 Foldings, 110 Hanna, Thomas, 185, 192n Forsythe, William, 109–11 Haraway, Donna, 248, 250–1, 257n One Flat Thing, 110 Harris, Gerry, 8, 10, 12 Foucault, Michel, 5–6, 7n, 45, 49n, 91, Harvey, David, 193–4, 200 115n, 156–8, 161–2, 258 Harvie, Jen, 236, 241–2, 282 Heterotopia, 156–62, 199 Hassan, Ihab, 24–5, 28, 30, 33, 36, 37n, Frampton, Daniel, 94 38n France, 71, 84, 101, 122–3, 197–9, 261, The Postmodern Turn, 24–5, 37n, 38n 263, 268, 298 Hayles, N. Katherine, 39, 47n, 248, 250, Franzen, Jonathan, 38n 256n, 259 Freud, Sigmund, 28, 50, 76, 79 Hegel, Georg, 27–31 Frost, Laura, 177, 180n Hegelians, 94 Frozen Art, 159–61, 162 Hegemony, 107, 141–4, 148–50, 153, Fugitive elements, 3–5, 6n 154n, 193, 205, 283 Fugitive exploration, 3, 6n, 214n Heidegger, Martin, 35, 65, 73n, 75n, 171 Hennessy, Keith, Turbulence, 146–47 Gamelan music, 112, 114 Heteronormative sexuality, 150 Geddes, Linda, 248, 257n Hijab, 121–3 Genet, Jean, 194–9 Hijikata, Tatsumi, 63, 64n ‘That Strange Word’, 194–6, 197, 199 Hofstadter, 77, 80 The Screens, 196–9 Holledge, Julie, 236–7, 242n

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Holm, David, 176–7 J. Craig Venter Institute, 248, 251, 256n Homeless, the, 133, 134–5, 137, 138, Jameson, Fredric, 193–4, 197, 200n, 309, 139, 189, 191 312n House of Youth, 159–60 Jarman, Derek, 45 Hunter, Lynette, 101, 154n, 312n Jeremiah, avatar, 66, 67, 72–3 Huxley, Aldous, 42 Jestrovic, Silvija, 139, 140n Hugo, Victor, 84, 89n Johnson, Don Hanlon, 185, 192n Humanist posthumanismm 249, 251–2 Johns, Lindsay, 129, 132n Hussey, Andrew, 306, 312n Hybridity, 73, 120, 122, 193, 254, 256, Kac, Eduardo, 71, 251–3, 256n 266, 270, 287, 290 Alba, 71, 251 ‘Cypher’, 252–3 Ibsen, Henrik, 24, 76, 104, 144 Kant, Immanuel, 31, 117, 120, 168–9, Ideology, 141, 150, 161, 169, 205, 181 209–12, 214n, 270 Kelleher, Joe, 51, 56n, 98, 100n Imaginary transposition, 232–3, 245, Kennedy, Dennis, 20, 23n 276–8 Kent, Nicolas, 131, 132n Immanence, 30–1, 110–11 Kharms, Daniil, 52–3 Immanent composition, 110 Khan, Naseem, 125–6, 131 Immediacy, 201, 204–5, 208–13 King, Barnaby, 128 Immigrants, 119–20, 123, 135, 139, 197, Knowles, Ric, 104, 107n, 236, 238, 284, 294 241n, 250, 257n Indonesia, 112, 305 Kofman, Eleonore, 120, 124n, 312n Indonesian dance, 112 Krieger, Murray, 181, 184 Installating, 141–9, 153 Kristeva, Julia, 118, 193, 199–200n Installation, 141–53, 160, 164–6, 172, Kwei-Armah, Kwame, 129–30 225n, 254, 260, 261 Intense exterior, 109–15 Labor unions, 203, 210 Intensive exterior, 111 Lacan, Jacques, 9, 91, 172, 273, 276–8, Intermedial, 77 279n Performance, 77 Mirror Stage, 172 Intermediality, 39, 47n Laclau, Ernesto, 143, 154n International/ism, 281–7 Lane, Richard J., 94, 100n Interspecies performance, 250, 257n Laruelle, François, 93, 97–100 Interval, 57–9, 61–4, 112 Lavender, Andy, 39 Harmonic, 57 Lawrence, Stephen, 127, 132n Intervallic play, 4 Lefebvre, Henri, 156, 159, 193, 198, 305–6 Intervals of dissensus, 171 The Critique of Everyday Life, 198 Irigaray, Luce, 188 Lehmann, Hans-Thies, 52–3, 102, Isadora software, 66, 70 258–60, 261, 262, 263, 264, 265, 266, Islam, 120–1, 209 267, 268, 270, 271 Islamic cosmopolitanism, 123, 124n LeineRoebana, Ghost Track, 112–15 Islamic feminism, 123 Levin, Laura, 308 Islamic law, 209 Levinas, Emmanuel, 171–2 Islamophobia, 122 Lichtenfels, Peter, 4, 101, 154n, 155n Iteration, 16, 76–82 Lifestyle, 41, 44, 123 Lim, Eng-Beng, 283, 288n Jaar, Alfredo, 164–6, 169, 172–3 Liminality, 52–5, 65, 73n, 153, 176, 311 The Sound of Silence, 164–6, 169 Lingis, Alphonso, 32, 38 Jackson, Adrian, 133, 136, 138–9, 140n Lippard, Lucy, 193, 200n

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Liveness, 41, 44, 47n, 82 Multiculturalism, 106, 118, 129, 273 Living history, 84–90 Multimedia, 70, 225n, 250, 300 Livingston, Ira and Judith Halberstam, Miultimedia performance, 70, 250, 248, 257n 253 Livingston, Paisley, 95–6, 100 Muslim Brotherhood, 206, 214n

McKenzie, Jon, 40, 47n, 51, 54, 56n, Negarestani, Reza, 113–14, 116n 153n, 282 Negri, Antonio, 40–1, 44, 48n, 49n, 196, McLuhan, Marshall, 41–2, 44, 48n 200n Macpherson, Sir William, 127, 132n Neoliberalism, 119, 204 McRobbie, Angela, 12, 15n Neoliberal abstraction, 281 Malinowski, Bronislaw, 289, 296n Neoliberal ideology, 141, 150, 312n Manovich, Lev, 40, 48n Neuroaesthetics, 65–73 Marcus, George E., 240, 242n Neuroscience, 223, 226n Magic, in theatre, 244–7 New aesthetics, 26, 130, 181–2 Marshall, T.H., 134, 140n Nicholson, Helen, 138, 140n Martyrdom, 176, 179, 203, 309 Nietzsche, Friedrich, 28–34, 38n, 91, Marxism, 196 98 Marxist geographers, 193 Nigeria, 13, 237–8, 241n, 305 Marxist scholarship, 209–10, 228 FESTAC, 237–8 Massey, Doreen, 194, 200n Noé, Ilya, 151–2 Massumi, Brian, 109, 111, 115n, 116n Palimpsests: the work of a scribe, 151 Maurin, Frédéric, 237, 212n Noh theatre, 58–9 MAX (Real-time programming North Korea, 174–80 environment), 68–9 Nureyev, Rudolf, 81–2 Maxwell, Dominic, 140 Nussbaum, Martha, 93–4 Media, 5, 16–23, 39–49, 58, 70–7, 121, 123, 127, 146, 174, 178, 189, 190, Occupy movement, 46, 49n, 312n 204, 207, 220, 235, 240, 248–9, 255, Official culture, 205, 213, 214n 260, 263, 267–8, 276–9, 281 Oguz, Tülay, 121–3 Merleau-Ponty, Maurice, 65, 75n, 182, Olimpias, Burning, 189 187 Open power, 205, 214n Mestizaje, 290, 292, 296n Optical motion capture, 66–8 MIDI, 68–70 Optik, 66–8 Migrants, 105, 120–1, 123, 292–5, 305 Xstasis, 68 Mimesis, 76, 147, 230, 268–9 Ordaz, Evangeline, 294 Mindelact International Theatre A Visitor’s Guide to Arivaca (Map Not Festival, 235 to Scale), 294–5 Mirror neurons, 222, 223, 226n, 232, O’Reilly, Kira, 253–4, 257n 276–7 Falling Asleep with a Pig, 253 Mise-en-scène, 166, 203, 263–4, 266–9 ORLAN, 253–4, 256n, 257n, 297, 299 Misperformance, 4, 50–5, 56n The Harlequin’s Coat, 254 Misperformance studies, 50, 54 Ortiz, Fernando, 289–90, 294, 296n Modern Drama, 281, 284, 288n Other, 10–15, 30, 73, 94, 97–9, 110–15, Modern(ism), 25–31, 36, 37n, 111 124n, 138, 145–7, 159, 162, 171, 173, Modernity, 1, 26, 28–31, 79, 100n, 109, 183, 188, 228, 230, 232, 250, 273–8, 282, 284, 288n, 306, 310–11 284 Moscow Art Theatre (MAT), 298–9 Otherness, 94, 104, 114, 156, 159, Mouffe, Chantal, 134, 143 171 Mullarkey, John, 94, 97 Other space, 159–62, 163n

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Palindrome, 68–9, 75n Dissensus, 164, 166–72 PANAFEST, 236–7 Ravel, Maurice, 78–80 Panksepp, Jaak, 274, 280n Rebellato, Dan, 281–2, 287, 288n Pannwitz, Rudolf, 29, 37n, 103 Recursion, 4, 76–82 Para-doxa, 33–6 Recursive, 81–2 Paramodern, 24–36 Figuration, 76 Para-site, 30–6 Process, 79 Pavis, Patrice, 14, 102, 104, 224n, 291 Structure, 80 Performance art, 21–2, 39, 57, 223, 254, Re-enactment, 84–9 260, 262–3, 267–8, 297–8 Civil War, 85–6, 87–8 Performance philosophy, 91–9 Relationality, 4, 44, 111, 165, 190, 205, Performative writing, 309–11 250–1, 298, 312n Performativity, 11, 15n, 93, 141–4, 146, Relational Aesthetics, 307, 312n 148–9, 152–3, 166, 272n Relational art, 307 Persinger, Michael, 272, 280n Relational attributes, 299 Petronio, Stephen, 77–82 Relational capacity, 299 Phelan, Peggy, 22, 153, 154n Relational cohesion, 298 Pinnock, Winsome, 126, 132n Relational dynamics 164 Plimoth Plantation, 86–7 Relational exchange, 250 Plurality, 45, 77, 88, 209, 246 Relational object, 18 Poe, Edgar Allan, 80–1 Relational position, 298 Poetics, 51, 54, 181–2, 190–1, 245, 267, Relational subject, 250 306 Reynolds, Bryan, 6n, 205, 209, 212, Aristotle’s Poetics, 92, 99n 214n Poetics of failure, 54 Transversal force, 113–14 Postcolonialism, 12, 107n, 118, 123, Transversal movements, 212, 213 199, 285 Transversal poetics, 3–6, 201, 204–5, Postdramatic theatre (PDT), 52–3, 76, 214n 216, 221, 224n, 225n, 258–71 Transversal power, 206–10 Post-feminism, 11, 13–14 Richter, Falk, 269 Post-Fordist, 40, 42, 46 Riley, Terry, 58 Posthumanism, 248–56 Robertson, Roland, 193, 200n Postmodernism, 24–5, 29, 31, 36, 37n, Roebana, Harijono, 112 200, 266, 272n, 290 Rojek, Chris, 104–5, 108 Poststructuralist, 10, 182, 259, 263, 273, Ross, Kristin, 197 276 Rowe, Michel, 134, 140n Povinelli, Elizabeth A., 237, 240, 242n Royal Shakespeare Company (RSC), 133, Pratt, Mary Louise, 291, 296n 136–7, 139 Presley, Elvis, 78–82 Prévert, Jacques, 259 Sacks, Oliver, 232, 233n Prica, Ines, 51, 56n Sadler, Simon, 306 Propaganda, 176–80 Sandoval-Sánchez, Alberto, 293, 296n PSi conference, 50, 55, 56n Santos, Sousa, 119, 124n Publicity, 18, 236, 303n Sarajevo, 157–8, 162 Public sphere, 16–22, 23n Sarrazac, Jean-Pierre, 261, 263, 270 Bourgeois, 16–19, 23n Sassen, Saskia, 284 Puchner, Martin, 99n, 100n, 260, 267 Saunders, Doug, 305, 313n Sauter, William, 235, 241n, 242n Rancière, Jacques, 164–72 Sawin, Patricia, 238, 241n Consensus, 167–8, 171 Schechner, Richard, 77, 184, 258, 282

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Schoenmakers, Henri, 234, 239, 241n, Sociopolitical, 151, 175, 204–10, 212, 242n, 243n 214n Schema, 110, 234, 236–8 Conductors, 205–10, 212, 214n Schematic, 148, 152, 154n Debate, 175 Sedgwick, Eve, 11–12, 15n Ecology, 151 Self-immolation, 201, 203–4, 207–10, Environments, 204 212 Struggle, 204 Self-surveillance, 42–3, 45, 48n Soja, Edward, 156–7, 159, 161–3, 193 Semantic, 17, 25, 50, 53, 122, 206 Thirdspace, 156–7, 159–63, 200n Semantic coding, 206 Solms, Mark, 274, 276, 278, 280 Semiology, 199n, 259, 263, 266 Somatic, the, 186–91 Semiotics, 9, 33, 93 Sontag, Susan, 42–6, 310 Sensorimotor coupling, 232–3 South Korea, 174–5, 178 Serbia, 159–61 Spain, 102, 106 Shakespeare, William, 37n, 42, 59, 80, Spinoza, Baruch, 91, 188, 279n 101, 133, 136, 138, 139–40, 219, 261, Spitta, Silvia, 290, 293, 296n 267 Spuybroek, Lars, 113, 116n Antony and Cleopatra, 59–62 Stadttheater, 263, 271 As philosopher, 94, 95, 96, 99n Stanislavsky, Konstantin, 52–3, 56n, 298 Hamlet, 182, 227, 233 State of exception, 171, 204–5 Macbeth, 80–1 State machinery, 175, 209–12, 214n Pericles, 136–7 State power, 205–6, 209–10, 214n Shamay-Tsoory, Simone G., 229, 233n Stelarc, 66, 75n Sherman, Cindy, 78, 82 Stenseth, Anne Lise, 118, 121–2 Sidney, Philip, 27 The Kiss and Waste Project,118, 121–2 Siim, Birte, 121–4 Stephen Petronio Dance Company, Simondon, Gilbert, 110, 116n 77–9, 81–2 Simulacra, 244 The King Is Dead (Part 1), 77–9, 80, Simulacrum, 31, 77, 179, 278 81, 82 Singapore Arts Festival, 237, 241n Strahler Holzapfel, Amy, 44, 49n Sinnerbrink, Robert, 92–3, 95–8, 99n Strindberg, August, 24, 144, 252 Site-specific, 67, 84, 133, 199, 308 Stuart, Meg, 144–6 Situated textuality, 142, 153 Forgeries, Love and Other Matters, Knowledge, 11, 142 144–6 Materialism, 168 Subjectification, 167, 170, 205 Positions, 251 Subjective territory, 205, 207, 211–13, Practice, 57 214n Situationists, 20, 306 Subjectivity-as-subjugation, 205 Situationist International, 306, Suicidal performance, 209 312n SymbioticA, 253–4 Skjeie, Hege, 121–3, 124n The Harlequin’s Coat, 254 Skansen, 86 Synasthesia, 71 Slacktavism, 45 Sychronicity, 161–2 Smajlovic, Vedran, 157, 158, 159–9 Synthia, 248, 251–3, 255 Social context, 105, 298 301–2, 307 Szondi, Peter, 263–4 Social contract politics, 141–2 Social media, 39–40, 42, 44, 45, 46 Tarlo, Emma, 123, 124n Social practice, 297–302 Taylor, Diana, 106, 154n, 284, 292, 296n Social somatics, 5, 185, 188–9, 191 Hemispheric Institute of Performance Societas Raffaello Sanzio, 98 and Politics, 106, 284

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Technoembodiment, 65–73 Turner, Victor, 73n, 75n Technology, 39–42, 45, 47n, 53, 65–68, 70–6, 97, 225n, 248–9, 253, 255, 267 Ulmer, Greg, 306, 313n Tenney, James, 57, 64n Ultras, 204, 213, 214n Thaxter, John, 139, 140n Universalism, 121, 141, 168–9 The alongside, 142, 144 Utopian performative, 161–2 The Race Relations (Amendment) Act, 127, 132n Vargas, Virginia, 119, 124n Theatre of immediacy, 201, 204–5, Venables, Clare, 133 209–13 Verfremdungseffekt, 59, 149 Theory of mind (ToM), 230, 277 Verma, Jatinder, 105, 107, 108n Thirdspace, 156–7, 159, 160, 161, 162, Vitez, Antoine, 261, 266 193 Vollertsen, Norbert, 174–80 Third space theatre, 194–9 Third World feminisms, 12–13 Wales, 101–2 Thompson, Evan, 232–3 Weber, Samuel, 91, 225 Time, in theatre, 215–26 Weiss, Frieder, 68, 69, 74n, 75n Tompkins, Joanne, 237–8, 242n Werbner, Pnina, 117, 124n, 134 Transculturation, 289–96 Wilderson III, Frank, 150, 152 Translation, 102–7 Williams, Raymond, 284, 304, 313n Transnationalism, 281–4 Wilmer, S.E., 284, 288 Transversal force, 113–14 Wilson, Robert, 253, 263, 271 Transversal movements, 212, 213 The Life and Death of Marina Transversal poetics, 3–6, 201, 204–5, Abromovi´c, 253 214n Wolfe, Cary, 248–52, 255, 256n Transversal power, 206–10 What is Posthumanism?, 248 Troika Ranch, 66, 69, 70, 74n, 75n Wren, Karen, 122–3, 124n The Future of Memory, 70 16 [R]evolutions, 70 Yarden, Tal, 82 Tricycle Theatre, 129, 131 Yugoslavia, 149, 160, 162n Not Black and White, 131 tucker green, debbie, 130 Zeki, Semir, 65, 69, 72, 75n Tunisia, 201–4, 209, 212, 213n Zine, Jasmine, 123, 124n Turnbull, Oliver, 274, 276, 278, 280n

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