Yes and No? Dissensus and David Greig’s Recent Work

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Notes

1. Jacques Rancière, ‘The Thinking of Dissensus: Politics and Aesthetics’, in Reading Rancière, ed. by Paul Bowman and Richard Stamp (London: Continuum, 2011), pp. 1–17 (p. 4).

2. George Rodosthenous in conversation with David Greig, ‘“I Let the Music Lead the Dance”: Politics, Musicality and Voyeurism’, New Theatre Quarterly, 27.1 (2011), 3–13 (p. 4).

3. See David Greig, Yes/No Plays <https://twitter.com/YesNoPlays> [accessed 4 January 2016] and David Grieg, ‘David Grieg: The Yes/No Plays’, National Collective, 2 February 2014 <http://nationalcollective.com/2014/02/02/david-greig-the-yesno-plays/> [accessed 4 January 2016].

4. Cosmotopia: Transnational Identities in David Greig’s Theatre, ed. by Anja Müller and Clare Wallace (Prague: Litteraria Pragensia, 2011).

5. Anja Müller and Clare Wallace, ‘Neutral Spaces and Transnational Encounters’, in Cosmotopia, ed. by Müller and Wallace, pp. 1–13 (p. 3).

6. Ibid., p. 3.

7. See Dan Rebellato, ‘Gestes d’ utopie. Le theatre de David Greig’, in Dramaturgies Britanniques (1980–2000), ed. by J.-M. Lanteri (Paris-Caen: Lettres Modernes Minard, 2002), pp. 125–35; Dan Rebellato, ‘“And I Will Reach Out My Hand with a Kind of Infinite Slowness and Say the Perfect Thing”: The Utopian Theatre of Suspect Culture’, Contemporary Theatre Review, 13.1 (2003), 61–80; also Dan Rebellato, ‘Playwriting and Globalisation: Towards a Site-Unspecific Theatre’, Contemporary Theatre Review, 16.1 (2006), 97–113.

8. Marilena Zaroulia, ‘“What’s Missing Is My Place in the World”: The Utopian Dramaturgy of David Greig’, in Cosmotopia, ed. by Müller and Wallace, pp. 32–45 (pp. 34–35).

9. Ibid., pp. 36–37.

10. Mary Louise Pratt, ‘Arts of the Contact Zone’, Profession, 91 (1991), 33–40 (p. 36). Later published in Imperial Eyes: Travel Writing and Transculturation (London: Routledge, 1992).

11. Ibid., p. 36.

12. Jonathan Culler, The Pursuit of Signs: Semiotics, Literature, Deconstruction (New York: Routledge, 1981; 2001), p. 114.

13. Qtd in Nigel Wrench, ‘Writing Macbeth after Shakespeare’, BBC News Website, 10 February 2010 <http://news.bbc.co.uk/2/hi/entertainment/arts_and_culture/8508803.stm> [accessed 9 October 2010].

14. David Greig cited in Wrench, ‘Writing Macbeth after Shakespeare’.

15. Jacques Rancière, Dissensus: On Politics and Aesthetics, trans. by Steven Corcoran (London: Bloomsbury, 2010), p. 37.

16. Etymologically from the Greek allos and agoreuein. See Princeton Encylopedia of Poetry and Poetics, ed by Alex Preminger, Frank J. Warnke, and O. B. Hardison, Jr (Princeton: Princeton University Press, 1965), p. 12.

17. David Greig cited in Clare Wallace, The Theatre of David Greig (London: Bloomsbury, 2013), p. 162.

18. David Greig, ‘Rough Theatre’, in Cool Britannia? British Political Drama in the 1990s, ed. by Rebecca D’Monté and Graham Saunders (Basingstoke: Palgrave Macmillan, 2008), pp. 208–21 (p. 214).

19. See Wallace, The Theatre of David Greig, p. 31.

20. Peter Billingham, At the Sharp End: Uncovering the Work of Five Contemporary Dramatists (London: Methuen, 2007), p. 93.

21. Reiner Steinweg, Lehrstrück und episches Theater: Brechts Theorie und die theaterpädagogische Praxis (Frankfurt a/M: Brandes & Apsel, 1995). Citation from ‘Two Chapters from Learning Play and Epic Theatre’, trans. by Sruti Bala, bgx: mag <bgxmag.com/steinweg2chapters.aspex#_ftn1> [URL no longer active].

22. David Greig, Selected Plays 1999–2009 (London: Faber and Faber, 2010), p. 222.

23. Ibid., p. 226.

24. Greig, ‘Rough Theatre’, p. 220.

25. Rancière, Dissensus, p. 36.

26. Rancière, ‘The Thinking of Dissensus’, p. 6.

27. Rancière, Dissensus, p. 69.

28. Rancière, ‘The Thinking of Dissensus’, p. 2.

29. Modelled on Stephen Gough, the so-called Naked Rambler, who has been imprisoned repeatedly for refusing to wear clothes in public places.

30. Vanessa Thorpe, ‘UK Playwright Plans Show Drawing on Anders Breivik Norway Killings’, Guardian, 23 March 2013 <www.theguardian.com/world/2013/mar/24/musical-anders-breivik-uk-premiere>. The title was amended on 24 March.

31. Wallace, The Theatre of David Greig, p. 165.

32. See Zaroulia, ‘“What’s Missing Is My Place in the World”’, in Cosmotopia, pp. 32–45.

33. Richard Millet, Langue Fantôme: suivi de Élogue Littéraire d’Anders Breivik (Paris: Pierre-Guillame de Roux, 2012).

34. Qtd in Robert Zaretsky, ‘A Shocking Pamphlet’, The Times Literary Supplement, 24 September 2012 <www.the-tls.co.uk/tls/public/article1133310.ece> [accessed 5 February 2014].

35. Arjun Appadurai, ‘Disjuncture and Difference in the Global Cultural Economy’, Theory Culture Society, 7 (1990), 295–310.

36. Judith Butler, Frames of War: When is Life Grievable? (London: Verso, 2009).

37. Gavin Titley, ‘They Called a War and Someone Came: The Communicative Politics of Breivik’s Ideoscape’, Nordic Journal of Media Research, 3.4 (2013), 216–24 (p. 222). ‘Ideoscape’ refers to the global flow of ideologies.

38. Ibid.

39. David Greig, The Events (London: Faber and Faber, 2013), p. 38.

40. In the first production at the Young Vic Theatre in London and the Traverse Theatre in Edinburgh in 2013 the role was athletically interpreted by Rudi Dharmalingam, in subsequent productions, somewhat less hectically, by Clifford Samuel.

41. Jacques Derrida, On Cosmopolitanism and Forgiveness (London: Routledge, 2001), pp. 32–33.