Unmaking Mimesis

Unmaking Mimesis

Essays on Feminism and Theatre Elin Diamond. unmaking mimesis elin diamond Also available as a printed book see title verso for ISBN details Unmaking Mimesis Unmaking Mimesis Essays on feminism and theater Elin. Book Cover.

Author: Elin Diamond

Publisher: Routledge

ISBN: 9781134982141

Category: Performing Arts

Page: 256

View: 180

In Unmaking Mimesis Elin Diamond interrogates the concept of mimesis in relation to feminism, theatre and performance. She combines psychoanalytic, semiotic and materialist strategies with readings of selected plays by writers as diverse as Ibsen, Brecht, Aphra Behn, Caryl Churchill and Peggy Shaw. Through a series of provocative readings of theatre, theory and feminist performance she demonstrates the continuing force of feminism and mimesis in critical thinking today. Unmaking Mimesis will interest theatre scholars and performance and cultural theorists, for all of whom issues of text, representation and embodiment are of compelling concern.
Categories: Performing Arts

Irish Women Playwrights 1900 1939

Irish Women Playwrights  1900 1939

Kelly , ' Introduction , ' p.1 Elin Diamond , Unmaking Mimesis : Essays on Feminism and Theater ( London : Routledge , 1997 ) , p.10 55 Diamond , Unmaking Mimesis , pp . 21-2 Diamond , Unmaking Mimesis , p . 19 57 Diamond , Unmaking ...

Author: Cathy Leeney

Publisher: Peter Lang

ISBN: 143310332X

Category: Literary Criticism

Page: 265

View: 868

Irish Women Playwrights 1900-1939 is the first book to examine the plays of five fascinating and creative women, placing their work for theatre in co-relation to suggest a parallel tradition that reframes the development of Irish theatre into the present day. How these playwrights dramatize violence and its impacts in political, social, and personal life is a central concern of this book. Augusta Gregory, Eva Gore-Booth, Dorothy Macardle, Mary Manning, and Teresa Deevy re-model theatrical form, re-structuring action and narrative, and exploring closure as a way of disrupting audience expectation. Their plays create stage spaces and images that expose relationships of power and authority, and invite the audience to see the performance not as illusion, but as framed by the conventions and limits of theatrical representation. Irish Women Playwrights 1900-1939 is suitable for courses in Irish theatre, women in theatre, gender and performance, dramaturgy, and Irish drama in the twentieth century as well as for those interested in women's work in theatre and in Irish theatre in the twentieth century.
Categories: Literary Criticism

Back Stages

Back Stages

5. Elin Diamond, “Brechtian Theory/Feminist Theory,” TDR: The Drama Review 32, no. 1 (1988): 82, 83. 6. Bertolt Brecht, Brecht on Theater, ed. John Willet (New York: Hill and Wang, 1964), 143; quoted in Diamond, Unmaking Mimesis, 84. 7.

Author: Shannon Jackson

Publisher: Northwestern University Press

ISBN: 9780810144866

Category: Performing Arts

Page: 400

View: 717

Shannon Jackson explores a range of disciplinary, institutional, and political puzzles that engage the social and aesthetic practice of performance in this collection of twenty essential essays spanning her career. Back Stages starts by considering the historical connection between performance practice and movements of social reform, while later writings analyze disciplinary debates on the place of performance in higher education and within the contemporary field of socially engaged art, tracking fraught and allied relationships to literary studies, art history, visual culture, theater, social theory, and critical theory. At a time of increased aesthetic experimentation and political debate within the art world, these essays alight on artists, groups, and cultural organizations whose experiments have challenged conventions of curation and critique, including Theaster Gates, Paul Ramírez Jonas, Harrell Fletcher, and My Barbarian. Throughout, Jackson navigates the political ambivalences of performance, from the late nineteenth to the twenty-first century, tracking shifts in participatory art that seek to resist capitalism, even as such performance work paradoxically risks neoliberal appropriation by a post-Fordist experience economy. Back Stages surfaces unexpected cross-disciplinary connections and provides new opportunities for mutual engagement within a wide network of educational, artistic, and civic sectors. A substantial introduction excavates the critical links between the essays and a variety of disciplines and movements.
Categories: Performing Arts

Quantum Theatre

Quantum Theatre

E. Diamond, Unmaking Mimesis (London: Routledge, 1997), p. 48. E. Diamond, Unmaking Mimesis, p. 47-8. E. Diamond, Unmaking Mimesis, 48. 18 p. E. Diamond, Unmaking Mimesis, p. 48. 15 16 17 Albert Nobbs 19 Lib Taylor and Sue Smith discuss ...

Author: Paul Johnson

Publisher: Cambridge Scholars Publishing

ISBN: 9781443845731

Category: Performing Arts

Page: 205

View: 910

Quantum Theatre uses the science of quantum mechanics to construct a rigorous framework for examining performance practice and the theatrical event, and live performance as a means of exploring the implications of quantum mechanics. Key ideas from physics are used to develop an interdisciplinary approach to writing about the work of a number of British theatre practitioners in terms of identity, observation and play. What this type of analysis does is enable an examination of aspects of performance that can remain hidden and so cast new light on the performance event. This is the first study of its kind that develops such a framework for analysis of contemporary performance, and provides a coherent alternative to postmodernism as a theoretical framework for writing about performance. As such, this book develops a methodology that can be applied to a wide range of performance practices. Furthermore, it presents an analysis of the work of a number of contemporary performance makers, including Vincent Dance Theatre and Triangle Theatre.
Categories: Performing Arts

Unsettling Space

Unsettling Space

A useful strategy for historicizing theatre is Elin Diamond's theory of unmaking mimesis that underpins much of my analysis. The remainder of this section is an overview of Diamond's model which resists a dominant world-view to ...

Author: Joanne Tompkins

Publisher: Springer

ISBN: 9780230286245

Category: Performing Arts

Page: 204

View: 731

This study investigates contestations over spatiality in one culturally composite nation, Australia, where contemporary theatre stages competing cultural and political agendas through space and place. Covering a wide range of plays it will have wide appeal for issues of space, spatiality and territory in all forms of theatre, in all nations.
Categories: Performing Arts

The Theatre of Death The Uncanny in Mimesis

The Theatre of Death     The Uncanny in Mimesis

New York: Fordham University Press. Derrida, J., & Stiegler, B. (2007). Echographies of television (trans: Bajorek, J.). Cambridge: Polity. Diamond, E. (2008). Unmaking mimesis. London: Routledge. Didi-Huberman, G. (2000). Être crâne.

Author: Mischa Twitchin

Publisher: Springer

ISBN: 9781137478726

Category: Performing Arts

Page: 336

View: 711

This book is concerned with such questions as the following: What is the life of the past in the present? How might “the theatre of death” and “the uncanny in mimesis” allow us to conceive of the afterlife of a supposedly ephemeral art practice? How might a theatrical iconology engage with such fundamental social relations as those between the living and the dead? Distinct from the dominant expectation that actors should appear life-like onstage, why is it that some theatre artists – from Craig to Castellucci – have conceived of the actor in the image of the dead? Furthermore, how might an iconology of the actor allow us to imagine the afterlife of an apparently ephemeral art practice? This book explores such questions through the implications of the twofold analogy proposed in its very title: as theatre is to the uncanny, so death is to mimesis; and as theatre is to mimesis, so death is to the uncanny. Walter Benjamin once observed that: “The point at issue in the theatre today can be more accurately defined in relation to the stage than to the play. It concerns the filling-in of the orchestra pit. The abyss which separates the actors from the audience like the dead from the living...” If the relation between the living and the dead can be thought of in terms of an analogy with ancient theatre, how might avant-garde theatre be thought of in terms of this same relation “today”?
Categories: Performing Arts

Automata and Mimesis on the Stage of Theatre History

Automata and Mimesis on the Stage of Theatre History

Diamond, Elin, Unmaking Mimesis: Essays on Feminism and Theatre (New York; London: Routledge: 1997). Dixon, John, Garden and Grove: The Italian Garden in the English Imagination (Philadelphia: University of Pennsylvania Press, 1986).

Author: K. Reilly

Publisher: Springer

ISBN: 9780230347540

Category: Performing Arts

Page: 220

View: 411

The automaton, known today as the robot, can be seen as a metaphor for the historical period in which it is explored. Chapters include examinations of Iconoclasm's fear that art might surpass nature, the Cartesian mind/body divide, automata as objects of courtly desire, the uncanny Olympia, and the revolutionary Robots in post-WWI drama.
Categories: Performing Arts

Psychoanalysis and Performance

Psychoanalysis and Performance

8 Elin Diamond, Unmaking Mimesis: Essays on Feminism and Theater, London and New York: Routledge, 1997: 83–4. 9 Diamond, Unmaking Mimesis: 93. 'VAL. Look. I marked the place with a biro. That's where the knife has to go in.

Author: Patrick Campbell

Publisher: Routledge

ISBN: 9781134616251

Category: Performing Arts

Page: 256

View: 915

The field of literary studies has long recognised the centrality of psychoanalysis as a method for looking at texts in a new way. But rarely has the relationship between psychoanalysis and performance been mapped out, either in terms of analysing the nature of performance itself, or in terms of making sense of specific performance-related activities. In this volume some of the most distinguished thinkers in the field make this exciting new connection and offer original perspectives on a wide variety of topics, including: · hypnotism and hysteria · ventriloquism and the body · dance and sublimation · the unconscious and the rehearsal process · melancholia and the uncanny · cloning and theatrical mimesis · censorship and activist performance · theatre and social memory. The arguments advanced here are based on the dual principle that psychoanalysis can provide a productive framework for understanding the work of performance, and that performance itself can help to investigate the problematic of identity.
Categories: Performing Arts

Women s Studies

Women s Studies

Unmaking Mimesis : Essays on Feminism and Theater . London : Routledge , 1997. 226p . bibliog . index . ISBN 0415012287 ; 0415012295pa . Many scholars have credited Elin Diamond with reviving the study of mimesis , the imitation of ...

Author: Linda A. Krikos

Publisher: Libraries Unlimited

ISBN: 1563085666

Category: Social Science

Page: 828

View: 956

This monumental work maps the field of women's studies publications, covering thousands of titles and Web sites in 19 subject areas published in the last two decades of the 20th century.
Categories: Social Science

Choreomania

Choreomania

Diamond, Unmaking Mimesis, 9. See also lüdtke, Dances with Spiders, 42, 56. c. 1790. Tarantellas throughout the nineteenth and early twentieth centuries were purported to serve, paradoxically, both as a means by which women could know ...

Author: Kélina Gotman

Publisher: Oxford University Press

ISBN: 9780190840419

Category: Music

Page: 384

View: 432

When political protest is read as epidemic madness, religious ecstasy as nervous disease, and angular dance moves as dark and uncouth, the 'disorder' being described is choreomania. At once a catchall term to denote spontaneous gestures and the unruly movements of crowds, 'choreomania' emerged in the nineteenth century at a time of heightened class conflict, nationalist policy, and colonial rule. In this book, author K�lina Gotman examines these choreographies of unrest, rethinking the modern formation of the choreomania concept as it moved across scientific and social scientific disciplines. Reading archives describing dramatic misformations-of bodies and body politics-she shows how prejudices against expressivity unravel, in turn revealing widespread anxieties about demonstrative agitation. This history of the fitful body complements stories of nineteenth-century discipline and regimentation. As she notes, constraints on movement imply constraints on political power and agency. In each chapter, Gotman confronts the many ways choreomania works as an extension of discourses shaping colonialist orientalism, which alternately depict riotous bodies as dangerously infected others, and as curious bacchanalian remains. Through her research, Gotman also shows how beneath the radar of this colonial discourse, men and women gathered together to repossess on their terms the gestures of social revolt.
Categories: Music