New Theatre Quarterly. Feb2019, Vol. 35 Issue 1, p33-43. 11p.
TRAGEDY (Drama), SOCIAL change, and NEOLIBERALISM
In this article, Alex Mangold identifies failure as a defining element of tragedy and argues that traditional understandings of the genre have been too narrow. Here, he asserts that tragic failure contributes to a tragic 'mode' that transcends genre definitions and, instead, extends to all kinds of contemporary theatre and performance. Examining a wide range of performance examples, including work from Sophocles to Sarah Kane, Forced Entertainment, Sasha Waltz, and Orlan, he argues that tragic failure, as it has come to be realized in examples of postdramatic writing and in site-specific or dance-based performance, is presented as an option, a dramatic choice, an outcome or part of an overall denial of dramatic form. The true power of the new tragic consequently lies in its ability to foster social change and a more ethical stance toward social dystopias. Alex Mangold lectures in the Department of Modern Languages at Aberystwyth University. He is co-editor (with Broderick Chow) of Žižek and Performance (Palgrave, 2014) and has published articles and chapters on the work of Sarah Kane and Howard Barker. [ABSTRACT FROM AUTHOR]
New Theatre Quarterly. Aug2008, Vol. 24 Issue 3, p229-245. 17p.
GREEK vase painting, AEGEAN pottery, HISTORY, and GREEK drama (Tragedy) -- History & criticism
In this article, Christian M. Billing considers the relationship between representations of mythic narratives found on ancient pottery (primarily found at sites relating to the Greek colonies of south Italy in the fourth century BC, but also to certain vases found in Attica) and the tragic theatre of the fifth century BC. The author argues against the current resurgence in critical accounts that seek to connect such ceramics directly to performance of tragedies by the major tragedians: Aeschylus, Sophocles, and Euripides. Using five significant examples of what he considers to be errors of method in recent philologically inspired accounts of ancient pottery, Billing argues for a more nuanced approach to the interpretation of such artefacts - one that moves beyond an understanding of literary texts and art history towards a more performance-conscious approach, while also acknowledging that a multiplicity of spheres of artistic influence, drawn from a variety of artistic media, operated in the production and reception of such artefacts. Christian M. Billing is an academic and theatre practitioner working in the fields of ancient Athenian and early modern English and European drama. He has extensive experience as a director, designer, and actor, and has taught at a number of universities in the UK and the USA. He is currently Lecturer in Drama at the University of Hull. [ABSTRACT FROM AUTHOR]
New Theatre Quarterly; May2007, Vol. 23 Issue 2, p152-160, 9p
THEATER, PERFORMING arts, ACTING, DRAMATIC structure, and STAGE directions
In this article, Beliz Güçbilmez argues that 'offstage' is not a place but an idea, a world minus a stage. It is 'anywhere but here', and its time is time-minus-now, making it impossible to determine its scale. It is a foreign tongue — a language with an unknown grammar carrying us to the borders of the uncanny. Güçbilmez rereads the offstage as the unconscious of the stage, looking at its more conventional use in the realistic and naturalistic plays of the nineteenth century and after, but also looking forward to the work of Samuel Beckett. Borrowing from Blanchot's interpretation of the Orpheus-Eurydice myth, she characterizes the Beckettian struggle to represent the unrepresentable as the act of bringing Eurydice into daylight — the invisible content of the offstage onto the stage, which is by definition the space of the gaze. Beliz Güçbilmez is an author, playwright, and translator, currently working as an Assistant Professor in the Theatre Department of Ankara University in Turkey. She is the author of Irony and Drama from Sophocles to Stoppard (Ankara: Deniz, 2005) and Time, Space and Appearance: the Form of Miniature in the Turkish Realist Theatre (Ankara: Deniz, 2006). A shorter version of this article was presented at the Working Group of the International Federation for Theatre Research (FIRT/IFTR) at its 2005 meeting in Krakow. [ABSTRACT FROM AUTHOR]