- Niels Henriksen, ‘Interview: Gerard Byrne’, Kopenhagen, 7 August 2007, http://www.kopenhagen.dk/index.php?id=10479, accessed 18 November 2008).
- Walter Benjamin, ‘What Is Epic Theatre?’ and ‘Studies for a Theory of Epic Theatre’, in Understanding Brecht, trans. Anna Bostock (London: Verso, 1998), 1–13, 23–5.
- Griselda Pollock ‘Screening the Seventies: Sexuality and Representation in Feminist Practice: A Brechtian Perspective’, Vision and Difference: Femininity, Feminism and the Histories of Art (London: Routledge, 1988) 179–81.
- For an account of Brechf's influence on American political art of the 1960s and 1970s, see Philip Glahn, ‘Estrangement and Politicization: Bertolt Brecht and American Art 1967–1979’ (PhD diss., City University of New York, 2007).
- George Baker, Gerard Byrne: Books, Magazines, and Newspapers (New York: Lukas and Sternberg, 2003), 15.
- Niels Henriksen, ‘Interview: Gerard Byrne’.
- Brecht's 1948 essay, ‘A Short Organum for Theatre’, is often seen as a softening of his hard-line approach; see, for example, Frederic Jameson, Brecht and Method (London: Verso, 1998), 36.
- A-effects aim not to put the audience in a ‘trance’. Bertolt Brecht, ‘A Short Organum for the Theatre’, Brecht on Theatre: The Development of an Aesthetic, trans. John Willett (New York: Hill and Wang, 1978), 193. Being ‘entangled’ and the ‘hypnotic experience in the theatre’ is also discussed in Brecht, ‘The German Drama: Pre-Hitler’, Brecht on Theatre, 78. The idea of the audience being carried along or ‘carried away’ is discussed many times; see Brecht, ‘The Question of Criteria for Judging Acting’, Brecht on Theatre, 58.
- Pleasure and lightness of touch are discussed by Sylvia Harvey, ‘Whose Brecht?: Memories for the Eighties’, Screen (May-June 1982): 53–4. Margaret Eddershaw draws attention to Brecht's view that the theatre should be entertaining and fun. Eddershaw, ‘Actors on Brecht’, Cambridge Companion to Brecht, ed. Peter Thomson and Glendyr Sacks (Cambridge: Cambridge University Press, 2006), 280. Peter Brooker discusses Brecht's preference for the model of comedy rather than tragedy and the associated emotions of ‘pity and fear’. Brooker, ‘Key Words in Brecht's Theory and Practice of Theatre’, Cambridge Companion, 212. He also notes the valuation of wonder and naivety (209, 215).
- Bertolt Brecht (1940), ‘Short Description of a New Technique of Acting which Produces an Alienation Effect’, The Twentieth Century Performance Reader, ed. Michael Huxley and Noel Witts, 2nd ed. (London: Routledge, 2002), 101.
- George Baker, Gerard Byrne, 70. Mark Godfrey, ‘History Pictures’, Present Tense through the Ages: On the Recent Work of Gerard Byrne (London: Koenig Books, 2007), 22.
- Bertolt Brecht, ‘A Short Organum for the Theatre’, 193–4.
- Ibid., 194.
- Ruth Leys, From Guilt to Shame: Auschwitz and After (Princeton: Princeton University Press, 2007).
- Margaret Eddershaw, ‘Actors on Brecht’, 279.
- Mark Godfrey, ‘History Pictures’, 19.
- Niels Henriksen, ‘Interview: Gerard Byrne’.
- Philip Fisher, cited in Sianne Ngai, Ugly Feelings (Cambridge, MA: Harvard University Press, 2005), 188.
- Sianne Ngai, Ugly Feelings, 200.
- Ibid., 201.
- In the case of 1984 and Beyond, there are photographs and a wall text in vinyl letters on a black-painted wall. Significantly, the text is the opening quote from ‘Art and Objecthood’, Michael Fried's infamous essay denouncing minimalism and theatricality. The quote is from Perry Miller's biography of American theologian Jonathan Edwards.
- Hal Foster, ‘Postmodernism in Parallax’, October, no. 63 (Winter 1993): 10.
- Ruth Leys, From Guilt to Shame, 150.
- Ibid., 148.
- Ibid., 150.
- Ibid., 154–5.
- Ibid., 155.
- Ibid.
- Levinas's demand for an ethics that precedes and exceeds ontology, and that concentrates on what is due to the other rather than the self, leads to, what he refers to as, unlimited or infinite responsibility for the other: a responsibility not expiated by deeds, but, on the contrary, increased by them; one that even opens the subject to the danger of persecution by the other. See Emmanuel Levinas, Otherwise than Being of Beyond Essence, trans. Alphonso Lingis (Dordecht: Kluwer, 1991), 124.
Australian and New Zealand Journal of Art
Volume 12, 2012 - Issue 1