Through a series of reflections from internationally renowned performance-makers and contextualising essays from leading theatre and performance scholars, this is the first book to map the influence of Roland Barthes on performance. The contributions are framed through Barthess notion of The Neutral the suspension of binary choice that offers a welcome antidote to the political deadlock of our present moment. They cover the breadth of Barthess work from Mythologies (1957) to The Death of the Author (1967), A Lovers Discourse (1977), Camera Lucida (1980), to the more recently available lecture courses at the Collčge de France. Together, they capture and rethink a range of Barthess preoccupations, from his early writing on myths and meaning to personal reflections on love, loss and desire, and interrogate the intersections between Barthess work and contemporary theatre and performance. This book invites readers to approach Barthess writing from a breadth of creative-critical perspectives, to become more aware of the importance of his late thought for thinking through a range of dramaturgical forms, and to become more familiar with the work of internationally significant performance practitioners.
Daugiau informacijos
The first book to map the influence of Roland Barthes on performance, through a series of reflections from internationally renowned performance-makers and contextualising essays from leading theatre and performance scholars.
List of Figures
Notes on Contributors
Acknowledgements
Introduction: Contemporary Performance After Roland Barthes Harry Robert
Wilson
Part 1 A Dictionary of Twinklings
1. 5 Theses for a Dramaturgy of Performance Matthew Goulish
and Lin Hixson
2. Ceaselessly Positing and Evaporating Meaning: A Performance
Score Pablo Pakula
3. Looking Through Old Photographs Andy Field and Deborah
Pearson
4. Recipes / Addendums / Souvenirs greenandowens (Katheryn
Owens and Chris Green)
5. Ways to Submit Ira Brand
6. All the Sense of Real: A World of Wrestling Simon Bayly
7. Practising Neutral Dramaturgy(ies) Will Daddario and Harry
Robert Wilson
Part 2 Rethinking Roland Barthes, Theatre, Performance
8. Weve never met but we may have fought Simon Bayly and Ira
Brand
9. For the Lover(s) of Dramaturgy: on Roland Barthes Amateur
Swen Steinhäuser
10. The Disturbance of One System by Another Claudia Kappenberg
11. Baffling Dramaturgy: Between the Obvious and Obtuse Mischa
Twitchin
12. Choreography, Capturing and Barthes Notion of the Punctum
Sandra Parker
13. Body and Mask: Dramaturgies of the Face in Roland Barthes
Michael Bachmann
14. Tracing Barthes Eastern Theatres: Empire of Signs and the
Staging of Individual Cultural Interpretation Pamela Genova
15. Unraveling Textual Soundscapes: Reading Barthes The Grain of
the Voice through Söderbergs Entangled Phrases and Linehans Body of Work
Rosa Lambert
Harry Robert Wilson is an artist and researcher based in Dundee, UK. He was recently awarded the Digital Thinker in Residence award at the National Theatre of Scotland, UK (2018-19). He has a PhD from the University of Glasgow, UK, in which he explored performance and photography through his own creative practice.
Will Daddario is a teacher, scholar, grief worker and itinerant philosopher who currently resides in Asheville, USA. He co-edits the Performance Philosophy book series and online journal.
