{"title":"Reflecting upon freedom with Meiro Koizumi","authors":"Shintaro Fujii","doi":"10.4324/9780203731055-18","DOIUrl":"https://doi.org/10.4324/9780203731055-18","url":null,"abstract":"","PeriodicalId":277793,"journal":{"name":"The Routledge Companion to Theatre and Politics","volume":"274 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132555423","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Artists versus the city","authors":"Helly Minarti","doi":"10.4324/9780203731055-45","DOIUrl":"https://doi.org/10.4324/9780203731055-45","url":null,"abstract":"","PeriodicalId":277793,"journal":{"name":"The Routledge Companion to Theatre and Politics","volume":"50 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127260705","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"How does the riot speak?","authors":"S. Nield","doi":"10.4324/9780203731055-60","DOIUrl":"https://doi.org/10.4324/9780203731055-60","url":null,"abstract":"","PeriodicalId":277793,"journal":{"name":"The Routledge Companion to Theatre and Politics","volume":"32 5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129988903","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Re-inventing a political theatre in Burkina Faso","authors":"H. Denyer","doi":"10.4324/9780203731055-90","DOIUrl":"https://doi.org/10.4324/9780203731055-90","url":null,"abstract":"","PeriodicalId":277793,"journal":{"name":"The Routledge Companion to Theatre and Politics","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123476527","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The power of abuse","authors":"J. Harvie","doi":"10.4324/9780203731055-41","DOIUrl":"https://doi.org/10.4324/9780203731055-41","url":null,"abstract":"","PeriodicalId":277793,"journal":{"name":"The Routledge Companion to Theatre and Politics","volume":"66 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116910992","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Reflections upon the ‘post’","authors":"A. Lavender","doi":"10.4324/9780203731055-3","DOIUrl":"https://doi.org/10.4324/9780203731055-3","url":null,"abstract":"The prefix ‘post’ by definition comes before something, in order to signal its afterwards. Discussions of (for example) postmodernism, posthumanism, the post-industrial, and indeed the post-digital have remarked that the ‘after’ or ‘beyond’ suggested in these framings is not necessarily categorical, nor even clearly demarcated by way of a date. In this case, the ‘post’ often contains significant features of what came before, and the presence of a name (the modern, the humanist) marks a continuity however much it is also always renounced. As Hal Foster suggested in 1983, addressing a trajectory from modernism to postmodernism, ‘modernism is now largely absorbed. Originally oppositional, ... today, however, it is the official culture’ (Foster 1985: ix). This raises a fundamental question concerning the ‘post’ as a cultural descriptor. To what extent does it mark a radical break, and to what extent is its precedent figured in the very shapes and expressions of the thing that it now describes? This tension is at the heart of cultural process, and thinking about the ‘post’ can help us understand principles of change within culture, society and politics, and therefore also within performance.","PeriodicalId":277793,"journal":{"name":"The Routledge Companion to Theatre and Politics","volume":"42 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122745252","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Advocacy, allies, and ‘allies of convenience’ in performance and performative protest","authors":"B. Hadley","doi":"10.4324/9780203731055-21","DOIUrl":"https://doi.org/10.4324/9780203731055-21","url":null,"abstract":"Though allies of various types have always played a role in the production of political performance – in \u0000mainstage, community, and performance art contexts – the literature to date tends to focus more on the \u0000practices of artists marked and marginalised by their gender, race, disability, or intersectional conjunctions \u0000thereof, rather than on the practices of their theatrical allies. \u0000In this chapter, I consider the practice of allies, particularly in online performance, as a newly emerging \u0000context and platform for political performance. After tracing the ways in which allies are typically \u0000involved in political performance about, for, with, and by marginalised people and communities, I point \u0000to complications arising in online performance as activists, campaigners, and entertainers – including \u0000those with a relatively recently acquired interest in a currently topical or controversial aspect of cultural \u0000politics – attempt to use these new platforms to attract new audiences to a cause, to their work, or a \u0000combination of the two.","PeriodicalId":277793,"journal":{"name":"The Routledge Companion to Theatre and Politics","volume":"88 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130298255","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The politics of teaching theatre","authors":"G. D'cruz","doi":"10.4324/9780203731055-43","DOIUrl":"https://doi.org/10.4324/9780203731055-43","url":null,"abstract":"","PeriodicalId":277793,"journal":{"name":"The Routledge Companion to Theatre and Politics","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133317243","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Art, politics, and the promise of rupture","authors":"Helena Grehan","doi":"10.4324/9780203731055-87","DOIUrl":"https://doi.org/10.4324/9780203731055-87","url":null,"abstract":"Drawing on the work of Marianne van Kerkhoven, who argues that dramaturgy is centrally about complexity and is ‘an alternation between “looking at something” and “walking in something”, an alternation between observation and immersion, between surrendering and attempting to understand’ (Van Kerkhoven 2009), this chapter explores whether, and to what extent, Julian Rosefeldt’s Manifesto (2016) might return complexity to questions of art and politics, in the context of the 21st century. \u0000 \u0000Manifesto is a 13-part film installation. In 12 of these films, Cate Blanchett reinterprets texts from some of the most important artist manifestos of the last century. As an installation that appeared in several major mainstream galleries around the world, Manifesto runs the risk of being overlooked, commodified, or consumed in terms of its potential to honour the radical spirit of the original manifestos it reimagines. Despite this possibility, it is a work that deserves close attention when thinking about both: how it is that the manifestos – the texts themselves – operate within the dramaturgical construction of this filmic series, and how this reimagining impacts their political potentiality. The focus of this chapter, then, is to consider what might be lost and gained through the reimagining of these texts for a 21st-century audience attuned to the visual and adept at consumption. What might Manifesto and the texts it celebrates do in an age of overflow? An age in which, as Rosefeldt argues, ‘less and less content is communicated and more and more facade’ (2016).","PeriodicalId":277793,"journal":{"name":"The Routledge Companion to Theatre and Politics","volume":"64 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132446778","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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