Abstract
Given a public airing at the University of Edinburgh in August 1991 with Elizabeth MacLennan, Watching for Dolphins by John McGrath was produced at the Tricycle Theatre in London in November 1991, and invited in March 1992 at the Comédie de Saint-Etienne in France. It draws new prospects as the playwright and his wife entrust their reflections to the memories of an activist, a single female character, turning into a Bed and Breakfast owner in North Wales.
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Notes
Baz Kershaw, The Politics of Performance (New York & London: Routledge, 1992).
R. Barthes, Mythologies (Paris: Ed. du Seuil, 1957).
Foottit, a famous clown, led a thorough reflexion on performance and the status of the artist, stating, for instance: ‘We are caricatures of the audience in which every attendant considers every neighbour and recognizes them in the picture drawn by the artist. But if every-one realized I mirror their own faces and absurdities, they would pick up a gun and kill Meeee.’ Quoted by Robert Beauvais ‘Les Ex-centriques’, pp. 56–8, p. 56, Clowns et Farceurs, Jacques Fabbri & André Sallès (eds), (J. P. Simard (trans) Paris Bordas, 1982).
In Herbert Blau’s book To All Appearances, the Imminence of a Not Yet (New York & London: Routledge, 1992).
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© 1988 Palgrave Macmillan, a division of Macmillan Publishers Limited
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Simard, JP. (1988). Watching for Dolphins by John McGrath: The Single Voicing of a Multiple Voice Performance. In: Boireau, N. (eds) Drama on Drama. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-25443-9_11
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DOI: https://doi.org/10.1007/978-1-349-25443-9_11
Publisher Name: Palgrave Macmillan, London
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