Abstract:The article discusses Mark Ravenhill's pool (no water) from two perspectives: that of a dramatic text and of performative potential. Central to this debate is the concept of the body and a variety of ways of its coding, framing, and ultimately obliterating. Ravenhill's drama is presented as an intriguing example of a play created in the process of collaborative workshopping. The article traces how such attempts lead to imposing an aesthetic discipline onto a living body. It is suggested that the play was compo… Show more
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