Advertisement

A Crystal Theatre: Suffering for Love

  • Daniel Koczy
Chapter
Part of the Performance Philosophy book series (PPH)

Abstract

This chapter examines how performance practices can respond to the problems posed by mediatisation through the fabrication of a multiplied and fragmented theatricality. It considers Hans-Thies Lehmann’s notion of response-ability, Jacque Rancière’s account of the emancipated spectator and Deleuze’s argument that mediatisation has eroded the individual’s faith in the world. Drawing on Deleuze’s idea of believing in the world, his concepts of continuous variation and crystalline description, and Beckett’s study of Proust, it argues that Play and Not I create crystal theatres by multiplying the poles of theatrical intimacy. In so doing, it also considers Billie Whitelaw and Lisa Dwan’s accounts of playing Beckett’s MOUTH and questions around the relationships between the actor and their role, the real and the imaginary in performance.

Works Cited

  1. Blau, Herbert (2004) Sails of the Herring Fleet: Essays on Beckett, Ann Arbor: University of Michigan Press.Google Scholar
  2. Bryden, Mary & Topping, Margaret (eds.) (2009) Beckett’s Proust/Deleuze’s Proust, Basingstoke: Palgrave Macmillan.Google Scholar
  3. Cohn, Ruby (1980) Just Play: Beckett’s Theatre, New Jersey: Princeton University Press.Google Scholar
  4. Dixon, Steve (2007) Digital Performance: A History of New Media in Theatre, Dance, Performance Art, and Installation, Cambridge, MA: The MIT Press.Google Scholar
  5. Dwan, Lisa (2013a) ‘BBC News: Not I, Lisa Dwan Explains Beckett’s Play Backstage’ [YouTube Video], available at: https://www.youtube.com/watch?v=-pWQyocKvrg (accessed May 2014).
  6. Dwan, Lisa (2013b) ‘Beckett’s Not I: How I Became the Ultimate Motormouth’, in The Guardian, 8 May 2013, available at: http://www.theguardian.com/culture/2013/may/08/beckett-not-i-lisa-dwan (accessed May 2014).
  7. Friesen, Norman & Hug, Theo (2009) ‘The Mediatic Turn: Exploring Consequences for Media Pedagogy’, in Mediatization: Concept, Changes, Consequences, ed. Knut Lundby, New York: Peter Lang, pp. 63–83.Google Scholar
  8. Harmon, Maurice (ed.) (1998) No Author Better Served: The Correspondence of Samuel Beckett and Alan Schneider, Boston: Harvard University Press.Google Scholar
  9. Kalb, Jonathan (1991) Beckett in Performance, Cambridge: Cambridge University Press.Google Scholar
  10. Kierkegaard, Søren (2004) Either/Or: A Fragment of Life, ed. Victor Eremita, trans. Alistair Hannay, London: Penguin Books.Google Scholar
  11. Lehmann, Hans-Thies (2006) Postdramatic Theatre, trans. Karen Jürs-Munby, London: Routledge.Google Scholar
  12. Mock, Roberta (2000) ‘Editor Introduction’, in Performance Processes: Creating Live Performance, ed. Roberta Mock, Bristol: Intellect Books, pp. 1–12.Google Scholar
  13. Moorjani, Angela (2008) ‘“Just Looking”: Ne(i)ther-World Icons, Elsheimer Nocturnes, and Other Simultaneities in Beckett’s Play’, in Beckett at 100: Revolving It All, ed. Linda Ben-Zvi & Angela Moorjani, Oxford: Oxford University Press, pp. 123–138.Google Scholar
  14. Mullarkey, John (2010) Philosophy and the Moving Image: Refractions of Reality, Basingstoke: Palgrave Macmillan.Google Scholar
  15. Rancière, Jacques (2011) The Emancipated Spectator, trans. Gregory Elliot, London: Verso.Google Scholar
  16. Rodowick, David N. (1997) Gilles Deleuze’s Time Machine, London and Durham: Duke University Press.Google Scholar
  17. Shepherd, Simon (2006) Theatre, Body and Pleasure, London: Routledge.Google Scholar
  18. States, Bert O. (1985) Great Reckonings in Little Rooms: On the Phenomenology of Theatre, Berkeley: University of California Press.Google Scholar
  19. Thiele, Kathrin (2010) ‘“To Believe in This World, As It Is”: Immanence and the Quest for Political Activism’, in Deleuze and Political Activism, ed. Marcelo Svirsky, Deleuze Studies, Vol. 4 (Supplement), Edinburgh: Edinburgh University Press, pp. 28–45.Google Scholar
  20. Whitelaw, Billie (1996) Billie Whitelaw… Who He? An Autobiography, London: Hodder & Stoughton.Google Scholar

Copyright information

© The Author(s) 2018

Authors and Affiliations

  • Daniel Koczy
    • 1
  1. 1.Newcastle upon TyneUK

Personalised recommendations