With a Foreword by Dan Rebellato, this book offers up a detailed exploration of Scottish playwright David Greig’s work with particular attention to globalization, ethics, and the spectator. It makes the argument that Greig’s theatre works by undoing, cracking, or breaking apart myriad elements to reveal the holed, porous nature of all things. Starting with a discussion of Greig’s engagement with shamanism and arguing for holed theatre as a response to globalization, for Greig’s works’ politics of aesthethics, and for the holed spectator as part of an affective ecology of transfers, this book discusses some of Greig’s most representative political theatre from
Europe (1994) to
The Events (2013), concluding with an exploration of Greig’s theatre’s world-forming quality.
Tabela de Conteúdo
1. Introduction: A Shamanic Semionaut.- 2. Holed Theatre as Response to Globalization.- 3. From Ethics to the Politics of Aesthethics.- 4. Affect and the Holed Spectator: Ecology of Transfers.- 5.
Europe: Globalization’s Inferiors.- 6.
The Architect: Blowing Up Architectures of Power.- 7.
The Cosmonaut’s Last Message to the Woman He Once Loved in the Former Soviet Union: “All this Fucking Beautiful Stuff”.- 8.
San Diego: Stitching up the Globe.- 9.
The American Pilot: A Precarious Restoration to ‘the Real’.- 10.
Damascus: Trouma.- 11.
Fragile: Sharing Doing and Spatial Transcorporeality.- 12.
The Events: Confounding Spacecraft – Here.- 13. Conclusion: World-Forming Theatre.
Sobre o autor
Verónica Rodríguez is Visiting Lecturer at Canterbury Christ Church University and Royal Holloway, University of London, UK. She is a member of ‘British Theatre in the Twenty-First Century: Crisis, Affect, Community’, a four-year research project funded by the Spanish Ministry of Economy and Competitiveness and by FEDER (European Union) (FFI2016-75443).
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