4,022 research outputs found
Others, spectatorship, and the ethics of verbatim performance
No full textIn this article Patrick Duggan interrogates The Paper Birds' 2010 production Others to explore the political and ethical implications of embodying the (verbatim) texts of others. Built from a six-month exchange of letters between the company and a prisoner, a celebrity (a very non-committal Heather Mills, apparently), and an Iranian artist, Others fuses live music with verbatim and physical theatre texts to investigate the ‘otherness’ of women from vastly divergent cultural contexts. With equal measures of humour and honesty the performance deconstructs these voices both to highlight their particular concerns and problems and to interrogate larger issues relating to ‘others’ with whom we have conscious or unconscious contact. The ethical implications of continuing or discontinuing the correspondences with the three women are explored, and trauma and embodiment theories are used alongside Lévinasian and Russellian theories of ethics to ask what an encounter with such others might teach us about ourselves, about the traumatized other and about the ethics of encounter within performance texts. Patrick Duggan is Lecturer in Theatre and Performance Studies at the University of Exeter. A practising director, he has also taught extensively in the UK and Ireland as well as in Germany and the United States. He is author of Trauma-Tragedy: Symptoms of Contemporary Performance (Manchester University Press, 2012) and co-edited Reverberations: Britishness, Aesthetics and Small-Scale Theatres (Intellect, 2013) and a special issue of the journal Performance Research ‘On Trauma’ (Taylor and Francis, 2011)
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Q & A with Lisa Duggan
No full textLisa Duggan is a Professor in American Studies at New York University. She was chair of this year's plenary session, which was entitled “Lesbian, Counter, and Queer: New Directions in the Study of Femininity.” She is author of Sapphic Slashers: Sex, Violence, and American Modernity, which won the John Boswell Prize of the American Historical Association in 2001. Her new book, The End of Marriage: The War over the Future of State Sponsored Love, will be published by University of California Press
Situation rooms: performing city resilience in New Orleans
No full textExploring place, performance and city resilience in contemporary New Orleans, this essay is the first academic publication from the Performing City Resiliance project run by Duggan and Andrew's. In open access journal Liminalities: a journal of performance studie
Performance can be vital to emergency preparedness
No full textStuart Andrews and Patrick Duggan respond to the CRJ’s recent call for new and imaginative modes of thinking and practice in emergency preparedness and resilience planning. Having just published their first project report, they invite discussions about the role that the arts can play
Performing New Orleans: Rethinking Resilience in Art and Everyday Life
No full textPerforming New Orleans examines the value of arts and culture in managing complex urban challenges, offering new perspectives on how artistic and everyday performances can be pivotal modes of practicing resilience. Through an exploration of understudied forms of performance in New Orleans, Stuart Andrews and Patrick Duggan highlight the centrality of the city’s arts ecosystems as a vital aspect of its ability to “perform” resiliency.Performing New Orleans resists conventional definitions of arts practice; instead, it uses a diverse array of case studies to illustrate what arts practices are, what they do, and how they can enhance our understanding of people, place, and resilience. The case studies in this volume range from playing in the streets to painting murals; from tourist flourishes to the performative effect of infrastructure projects; from the design and leadership of arts centers to the unfolding of festivals, theater performances, art installations, and even public health messaging. The authors also review, critique, and rethink resilience theory and the often problematic idea of “being resilient.”Andrews and Duggan bring together ideas from art and architecture, cultural geography, hazard mitigation, resilience theory, sustainability, theater, and water management to explore “performances” of the city to radically expand our understanding of urban adaptability. Performing New Orleans argues that a truly resilient city is one that recognizes arts and culture professionals as crucial, critical innovators.<br/
Trauma-Tragedy: symptoms of contemporary performance
No full textTrauma-Tragedy investigates the extent to which performance can represent the 'unrepresentable' of trauma. Throughout, there is a focus on how such representations might be achieved and if they could help us to understand trauma on personal and social levels. In a world increasingly preoccupied with and exposed to traumas, this volume considers what performance offers as a means of commentary that other cultural products do not. The book's clear and coherent navigation of complex relation between performance and trauma and its analysis of key practitioners and performances (from Sarah Kane to Socìetas Raffaello Sanzio, Harold Pinter to Forced Entertainment, and Phillip Pullman to Franco B) make it accessible and useful to students of performance and trauma studies, yet rigorous and incisive for scholars and specialists. Duggan explores ideas around the phenomenological and socio-political efficacy and impact of performance in relation to trauma. Ultimately, the book advances a new performance theory or mode, 'trauma-tragedy', that suggests much contemporary performance can generate the sensation of being present in trauma through its structural embodiment in performance, or 'presence-in-trauma effects'
Encenando o processo de paz no teatro contemporâneo da Irlanda do Norte : a obra AH6905 de Dave Duggan
No full textEste ensaio pretende focar a obra de Dave Duggan e da sua compania teatral Sole Purpose Productions, analisando em detalhe a produção da sua nova peça AH6905. As Produções Sole Purpose foram criadas em 1997 pelos directores co-artísticos Dave Duggan e Patricia Byrne com o objectivo de elucidar o público relativamente a questões sociais e públicos através do discurso do imaginário teatral. David Duggan e as Produções Sole Purpose trabalham, de modo consciente, com o intuito de “aplicar a imaginação teatral ao processo político de paz”, seguindo a tradição do “espaço utópico” criada pelos dramaturgos Stewart Parker e Anne Devlin. No entanto, enquanto estes últimos limitam as opções dramatúrgicas empregues nas suas peças à superação do realismo e à tentativa de contornar métodos didácticos, as peças de Duggan rejeitam o realismo a favor de um teatro expressionista brechtiano mais didáctico. A peça AH6905 foca a questão da recuperação da verdade no Processo de Paz da Irlanda do Norte, recorrendo à estrutura dramatúrgica do monólogo. Uma metafóra teatral é utilizada por Dave Duggan para exprimir a sua esperança de que “o povo da Irlanda do Norte se coloque no centro do palco desta questão e no modo de recuperação da verdade nos próximos anos” (Dave Duggan, Foreword to AH6905, p. 5).In this paper I am going to closely focus on the work of Dave Duggan and his company Sole Purpose Productions, analysing in detail his new play and production AH6905. Sole Purpose Productions was formed in 1997 by co-artistic directors Dave Duggan and Patricia Byrne to illuminate social and public issues by bringing the discourse of theatrical imagination to bear on them. David Duggan and Sole Purpose Productions consciously work with the “application of the theatrical imagination to the politics of the peace process” in the tradition of the utopian space created in the drama of writers such as Stewart Parker and Anne Devlin. However, while the latter limit the dramaturgical options employed in their plays to merely transcending realism, and eschew didactic methods, Duggan’s plays reject realism for a more Brechtian didactic and expressionist theatre. The play AH6905 exposes the issue of truth recovery in the Northern Ireland Peace Process through the dramaturgical structure of a monologue. With a theatrical metaphor Dave Duggan expresses his hope that “the people of Northern Ireland themselves will take centre stage on the matter and the manner of truth recovery over the coming (Dave Duggan, Foreword to AH6905, p. 5). 20
Theatre's immediacy: notes on performing 'with' Žižek
No full textThis chapter critically reflects on a production of Anthony Neilson's Normal (directed by the author in July 2012) to explicate the ways in which vZivzek's philosophical writings were useful in and pertinent to rehearsals; it examines moments in which the play in performance adhered to and/or corresponded with that philosophical work, and also how it pushed back against it in various ways. The author challenges the orthodoxy that performance (and live art) is somehow more immediate textendash more real textendash than theatre. The essay employs vZivzek's work to challenge the hierarchized 'performance versus theatre' binary by relating his theories of the oscillation of the real and virtual to the author's own theory of 'mimetic shimmering' (2013), and to an analysis of the various theatrical devices used in the production of Normal to facilitate such an oscillation in performance. The intention is to push back against the way that performance theory often under theorizes what constitutes a real event
Dean John D. Hutson and Associate Justice James E. Duggan
No full textPictured here at Commencement 2001, Dean John D. Hutson, left, with Associate Justice James E. Duggan, former director of the Law Center’s Appellate Defender’s Program. Justice Duggan was appointed to the New Hampshire Supreme Court in January 2001.https://scholars.unh.edu/alumni_mag_photos/1027/thumbnail.jp
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