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  • Produktbild: Staging Systemic Violence
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Staging Systemic Violence British Theatre 2010-2019

Aus der Reihe Methuen Drama Engage

123,99 €

inkl. gesetzl. MwSt., Versandkostenfrei

Beschreibung

Produktdetails

Einband

Gebundene Ausgabe

Erscheinungsdatum

22.08.2024

Verlag

Bloomsbury Publishing

Seitenzahl

224

Maße (L/B/H)

22,2/14,5/1,6 cm

Gewicht

419 g

Sprache

Englisch

ISBN

978-1-350-38727-0

Beschreibung

Produktdetails

Einband

Gebundene Ausgabe

Erscheinungsdatum

22.08.2024

Verlag

Bloomsbury Publishing

Seitenzahl

224

Maße (L/B/H)

22,2/14,5/1,6 cm

Gewicht

419 g

Sprache

Englisch

ISBN

978-1-350-38727-0

Herstelleradresse

Libri GmbH
Europaallee 1
36244 Bad Hersfeld
DE

Email: gpsr@libri.de

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Die Leseprobe wird geladen.
  • Produktbild: Staging Systemic Violence
  • Produktbild: Staging Systemic Violence

  • Introduction (Camilla Whitehill's Mr Incredible)
    'Staging the Systemic': Context and Methodology
    Unspectacular: The Representation of Violence in 2010s British Theatre and Mr Incredible
    Overview

    Chapter One: Violence (Caryl Churchill's Escaped Alone)
    Tea and Catastrophe: Churchill in the 2010s
    The Necessary Difficulty of Defining Violence: Arendt, Sontag, and Escaped Alone
    Making Invisible Violence Visible: Evans, Giroux, Zizek, and Escaped Alone
    Violence and 'Truth': Butler, Nancy, and Escaped Alone
    Conclusion

    Chapter Two: Performativity (Lulu Raczka and Barrel Organ's Some People Talk About Violence and Martin McDonagh's A Very Very Very Dark Matter)
    Theatrical Strategies and Reality-Making: Perspectives on Performativity and Theatre
    Injurious Speech: The Violence of Performativity and Some People Talk About Violence
    Oppressive Recitation: The Performativity of Violence and A Very Very Very Dark Matter
    Conclusion

    Chapter Three: Protest (Chris Thorpe's There Has Possibly Been An Incident and debbie tucker green's ear for eye)
    (Ir)relevancy and (Il)legitimacy in the Public Sphere: Protest, Theatre, and (Non)Violence
    Nonviolent Progress/Revolutionary Change: Witnessing Black Witnessing in ear for eye
    Conclusion

    Chapter Four: Climate Crisis (Ella Hickson's Oil, Duncan Macmillan's Lungs, and Lucy Kirkwood's The Children)
    The Violent Performativity of Resource Exploitation: Magic Realism and Perspective in Oil
    Dramaturgies of 2010s British CCT: Domesticity, Cli-Fi, Posthumanism, and Materiality
    Performative Taxonomical Violence: The Slow Theatre of The Children
    Conclusion

    Chapter Five: Brexit and Neoliberalism (Rose Lewenstein's Cougar, Alistair McDowall's Pomona and Simon Stephens's Three Kingdoms)
    Apocalypse and Dystopia: Theatrical Visions of 2010s British Neoliberalism
    Empty Europe: Cross-Cultural British-European Theatre and Dramaturgies of Violence
    Conclusion

    Chapter Six: Brexit and Racism (Anders Lustgarten's Lampedusa, Zinnie Harris's How to Hold Your Breath, and Somalia Nonyé Seaton's Fall of the Kingdom, Rise of the Foot Soldier)
    Europeanness and the Other: Lampedusa and How to Hold Your Breath
    Racism and British Identity: Fall of the Kingdom, Rise of the Foot Soldier
    Conclusion

    Chapter Seven: Gender-Based Violence (Katherine Chandler's Bird and Jasmine Lee-Jones's seven methods of killing kylie jenner)
    The Performative 'Reality' of Gender-Based Violence: Fluid Realism and Bird
    Breaking (Violent) Forms: Realism-without-truth and seven methods of killing kylie jenner
    Conclusion

    Conclusion (Travis Alabanza's Burgerz)
    Violence and Performativity in 2010s British Theatre: Three Contentions
    The Power of Performativity: Showing Structural Violence and Burgerz
    Concluding Remarks

    Works Cited
    Appendix: List of Performances
    Bibliography
    Index