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Abstract
Backpages is an opportunity for the academy to engage with theatre and performance practice with immediacy and insight and for theatre workers and performance artists to engage critically and reflectively on their work and the work of their peers. Featuring short, topical articles and debates, polemics where necessary, it’s a place of intellectual intervention and creative reflection. It’s also where we hope to articulate, perhaps for the first time, the work of new and rising theatre artists in an academic forum.
Notes
1. Kei Miller, The Cartographer Tries to Map a Way to Zion (Manchester: Carcanet, 2014), pp. 19, vi.
2. Ibid, p. 16.
3. Ibid, p. 54.
4. Ibid, p. 50.
5. Gaston Bachelard, The Poetics of Space, trans. by Maria Jolas (Boston: Beacon Press, 1994), p. xi.
6. Kamau Brathwaite, Roots (Ann Arbor, MI: University of Michigan Press, 1993), p. 265.
7. My comments are in response to a paper Nigel Fabb presented at the ‘Rhythms in Scotland’ conference, Glasgow University, 25 November 2014, in which he outlined his approach in his forthcoming book.
8. Erika Fischer-Lichte, The Transformative Power of Performance: A New Aesthetics, trans. by Saskya Iris Jain (London and New York: Routledge, 2008), p. 38.
9. As Ludwig Wittgenstein suggests we do, in relation to the problem of thinking. Ludwig Wittgenstein, Philosophical Investigations, trans. by G. E. M. Anscombe, P. M. S. Hacker, and Joachim Schulte, 4th edn (Oxford: Blackwell Publishing, 2009), p. 113.
10. Fred Cummins, ‘Voice, (Inter-) Subjectivity, and Real Time Recurrent Interaction’, Frontiers in Psychology, 5 (July 2014), 1–10 (p. 2).
11. Jan Kott, The Memory of the Body: Essays on Theatre and Death (Evanston, IL: Northwestern University Press, 1992), p. 115.
12. Ibid., pp. 116–17.
13. Helen Freshwater, Theatre & Audience (Basingstoke: Palgrave Macmillan, 2009), pp. 5–6.
14. Ibid., p. 18.
15. The Wrestling School, BLOK/EKO., by Howard Barker, Northcott Theatre, Exeter, June 2011.
16. Howard Barker, BLOK/EKO (London: Oberon, 2011), p. 60.
17. Ibid., p. 61.
18. Ibid.
19. Fischer-Lichte, The Transformative Power of Performance, p. 130.
20. Roland Barthes, ‘The Grain of the Voice’ in Image, Music, Text, trans. by Stephen Heath (London: Fontana, 1977), pp. 179-89.
21. David Lane, ‘Progressive Dramaturgy’, 17th April, 2013 <http://hannahsilva.co.uk/progressive-dramaturgy/> [accessed 25 March 2015].
22. Abigail Solomon-Godeau, ‘Taunting and Haunting: Critical Tactics in a “Minor” Mode’, in Women Artists at the Millennium, ed. by Carol Armstrong and Catherin de Zegher (Cambridge, MA: MIT Press, 2006), pp. 371–402.
23. British Library, ‘Taking Liberties: The Struggle for Britain’s Rights and Freedoms’ <http://www.bl.uk/onlinegallery/takingliberties/index.html> [accessed 25 March 2015].
24. Unbound <http://www.thisisunbound.co.uk/index.php> [accessed 25 March 2015].
25. ‘Recitations’, acts of memory <http://www.actsofmemory.net/> [accessed 2 April 2015].
26. ‘Counterpoint Multidisciplinary Event’, Platforma, 25 November 2011 <http://platforma.org.uk/events/counterpoint-multidisciplinary-event> [accessed 14 April 2015].