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Martin Crimp's Theatre - Collapse as Resistance to Late Capitalist Society

of: Clara Escoda Agusti

De Gruyter Mouton, 2013

ISBN: 9783110309959 , 347 Pages

Format: PDF

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Martin Crimp's Theatre - Collapse as Resistance to Late Capitalist Society


 

Acknowledgements

7

I Preliminaries I: Introduction and Rationale

13

II Preliminaries II: Martin Crimp’s Theatre, a Pedagogy of Resistance

25

1 Martin Crimp’s Context

27

1.1 Late Capitalism and Societies of Control

27

1.2 A Post-Holocaust Writer: Capitalism and Barbarism

33

2 The Semiotic Potential of Collapse on Stage

40

2.1 Collapse on Stage: What it is and how it Works

40

2.2 I Have Witnessed: Testimony and Audience Responsibility

42

2.2.1 Auschwitz and Testimony

42

2.2.2 Audience, Resistance and Testimony

47

3 Redefining Ethics: A Collapsing Body

53

III Beginnings of a Dramaturgy: Violence, Memory and Retribution in The Treatment (1993)

61

1 Introduction: Collapse, ‘In-Yer-Face’ Theatre and the ‘Society of Spectacle’

63

2 The ‘Spectacle’ Filled our Pockets: Duplicity, Sexism and the Market

70

2.1 La Dérive: Marginal Spaces of Resistance

73

2.2 ‘Like A Disapproving Person’: Collapse, Pretence and Alienation

80

3 The Point of Rupture: Collapse and Barbarism

89

3.1 Stopping the Technology: Détournement, ‘Luddism’ and ‘Terrorism’

93

3.2 Clifford’s Eyes and the ‘Banality of Evil’

98

3.3 A Rewriting and a Parable of Ambition

104

3.4 Audience and Violence: From Voyeurs to Active Witnesses

110

4 Conclusion: Towards Subjectivity and Ethics

112

IV Postdramatic Plays: Attempts on her Life (1997) and Face to the Wall (2002)

115

1 Interpretation, Self-Regulation and Postdramatism

122

1.1 Crimp and Postdramatism

122

2 Short Circuits of Desire: Language and Power in Attempts on her Life

128

2.1 The ‘Camera’, Narcissism, and the ‘Society of Spectacle’

128

2.2 ‘I Can’t’: A Body in Denial

136

2.3 Ready-mades, Language and Power

147

3 ‘The Stage, a Skull’: Male Collapse as Resistance in Face to the Wall

153

3.1 Fewer Emergencies (2005) and the Non-Hierarchical Theatrical Experience

155

3.2 ‘The Warm Metal - Thank You - of the Gun’: Interpretation and Violation

163

3.3 ‘Voyeurs in Bedlam?’: Re-Materializing the Audience

170

V Dramatic Plays: Female Breakdown as Micropolitical Resistance

179

1 Stopping Time: Memory and Resistance in The Country (2000)

181

1.1 Introduction

181

1.1.1 Of Violence and Pathos

181

1.1.2 ‘Paper, Scissors, Stone’: A Narrative of Testimony and a Power Game

188

1.2 Collapse as Self-Awareness: Corinne’s Change

193

1.2.1 Collapse, Mercantilism and ‘Empire’

194

1.2.2 Virgil, Collapse and Testimony

197

1.3 ‘It is Only the Flesh’: Rebecca’s Moral Imagination

200

1.3.1 Collapse as Violence

200

1.3.2 Madness as Reason’s Other

205

1.4 Patchwork of Voices, Swarm of Resistance

209

1.4.1 Outbursts of Solidarity

211

1.4.2 Community of Resistance

214

1.5 ‘Oh, to Reverse’: Spiralling Towards Full Time

220

1.5.1 Collapsing Boundaries

221

1.5.2 Stopping Time: An Ethics of Resentment

224

1.5.3 Testimony and Late Capitalism

228

1.5.4 Path of Discovery: the Ethics of Spectatorship

232

1.5.5 To Survive: Self-Creation and the Paring Down of Selfhood

237

1.6 Conclusion: Turning Towards Psychology

240

2 Oppression, Resistance and Terrorism in Cruel and Tender (2004)

243

2.1 Sophocles, Crimp and Bondy

243

2.2 Radical Ethics: The Body as Weapon, Insight and Image

251

2.2.1 The Cartesian Self: Verticality and the Word

252

2.2.2 Amelia’s ‘Embodied’ Tongue

255

2.3 Of Shamans and Cyborgs: From Bodies of Mastery to Bodies of Need

259

2.3.1 Invocation and Ritual

261

2.3.2 A Utopia of Mutual Dependency

264

2.4 Collapse and Testimony: Late Capitalism and Totalitarianism

273

2.4.1 Inequality, Auschwitz and the Collapsing Self

276

2.4.2 Opening a Space of Exteriority

283

2.4.3 The Inheritance of Resistance

288

2.5 Conclusion: Memory as Imperative and Yearning

291

VI Testimony and World Inequality in Crimp’s Adaptation of Anton Chekhov’s The Seagull (2006)

295

1.1 Introduction: Mirroring Fragments, Play-Within-a-Play

297

1.2 Testimony as Resistance: Crimp’s and Mitchell’s Play-Within-a-Play

301

1.3 ‘Cold, Blank, Distant’: Breakdown as Resistance

310

VII General Conclusions: Martin Crimp’s Theatre: a Dramaturgy of Resistance

325

VIII Works Cited

339

Primary Sources

341

Secondary Sources

342