Share
Rethinking Character in Contemporary British Theatre: Aesthetics, Politics, Subjectivity (Contemporary Drama in English Studies)
Cristina Delgado-Garcia (Author)
·
De Gruyter
· Hardcover
Rethinking Character in Contemporary British Theatre: Aesthetics, Politics, Subjectivity (Contemporary Drama in English Studies) - Cristina Delgado-Garcia
Choose the list to add your product or create one New List
✓ Product added successfully to the Wishlist.
Go to My Wishlists
Origin: U.S.A.
(Import costs included in the price)
It will be shipped from our warehouse between
Monday, June 17 and
Wednesday, July 03.
You will receive it anywhere in United Kingdom between 1 and 3 business days after shipment.
Synopsis "Rethinking Character in Contemporary British Theatre: Aesthetics, Politics, Subjectivity (Contemporary Drama in English Studies)"
The category of theatrical character has been swiftly dismissed in the academic reception of no-longer-dramatic texts and performances. However, claims on the dissolution of character narrowly demarcate what a subject is and how it may appear. This volume unmoors theatre scholarship from the regulatory ideals of liberal humanism, stretching the notion of character to encompass and illuminate otherwise unaccounted-for subjects, aesthetic strategies and political gestures in recent theatre works. To this aim, contemporary philosophical theories of subjectivation, European theatre studies, and experimental, script-led work produced in Britain since the late 1990s are mobilised as discussants on the question of subjectivity. Four contemporary playtexts and their performances are examined in depth: Sarah Kane's Crave and 4.48 Psychosis, Ed Thomas's Stone City Blue and Tim Crouch's ENGLAND. Through these case studies, Delgado-Garcia demonstrates alternative ways of engaging theoretically with character, and elucidating a range of subjective figures beyond identity and individuality. Alongside these analyses, the book traces a large body of work that has experimented with speech attribution since the early twentieth-century. This is a timely contribution to contemporary theatre scholarship, which demonstrates that character remains a malleable and politically-salient notion in which understandings of subjectivity are still being negotiated.