Theatre's Heterotopias

Tompkins, Joanne

doi:10.1057/9781137362124

Cited by 27 publications

(4 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…My study appropriates Foucault's notion of discourse on a methodological level while gaze, power/knowledge, and heterotopia are reconsidered in the particular context of the mental health play and its theatrical renderings. While gaze has found widespread application in theatre studies, the concept of heterotopia seems to have been limited to a small number of studies by Australian scholars Gay McAuley (1999), Joanne Tompkins (2014), and Adrian Kiernander (1997), as well as by German theatre and performance scholars Erika Fischer-Lichte and Benjamin Wihstutz (2013).…”

Section: Literature Reviewmentioning

confidence: 99%

Towards a Poetics of the Mental Health Play

Drautzburg¹

2020

Göttinger Schriften Zur Englischen Philologie

View full text Add to dashboard Cite

would also like to thank the editorial board of the Göttinger Schriften zur Englischen Philologie series, in particular, Dr. Frauke Reitemeier, for the generous offer to publish this study.I thank my family, Christian and Martina Sarada Drautzburg, Miriam Halfmann, Nina Liewald, Anne Wibbe, Charlotte Ryland, Cécile Roche, Svenja Frank, and Corinna Jörres for their love and care, as well as their constant support in navigating the choppy waters of my academic and personal life over the years. Last but not least, I thank wholeheartedly the one who always knew, Alexander Scherr, for everything. er/knowledge' Dreyfus and Rabinow 184, 199). Based on the idea that "discourses are […] sustained by a regime of power/knowledge relations," this study differentiates between two distinct discourses, the madness discourse and the mental health discourse (Lynch 124). It is vitally important for my argument that these phenomena are not the same. The two "discourses are the complex networks of statements that make knowledge possible; that delimit what can be said, or understood, within a particular discourse; and that determine who can speak (or at least speak with authority or be heard) within that discourse" . At the same time, it is important to remember that in Foucault's sense, power is not static but dynamic and that it is "not meant as a context-free, ahistorical, objective description" (Dreyfus and Rabinow 184).Jürgen Link's extension of Foucault's notion of discourse is particularly useful for showing how in the theatre, much like in literature, discourses can and do overlap, and that the theatre also actively contributes to them (285). 1 According to Link, it is necessary to differentiate between special-discursive and inter-discursive elements when it comes to analysing what Foucault termed discursive formations and power dispositif (285). Theatre discourse can then be regarded as an "interdiscourse" because it correlates with special-discursive formations such as medicine, mental health, and madness, and engages with the power networks that these discourses form (286). According to Colette Conroy, "theatre offers a cultural 1 The passage in the German original reads: "Nicht bloß das von Foucault beschriebene medizinische, auch das entsprechende pädagogische, juristische, prä-biologische und biologische Wissen scheint in vielen literarischen Texten nicht bloß 'vorzukommen', es scheint sie geradezu wesentlich mit zu konstituieren." (Link 285; my emphasis) 7 Interestingly, the first film about Laing's life with the highly suggestive title Mad to Be Normal, featuring David Tennant and Elizabeth Moss, only premiered in January 2017 and received mixed reviews (Child). 8 Irish writer Edna O'Brien also recounts taking LSD under Laing's supervision in her memoir Country Girl (2012). 9 For a comprehensive history of community care, see Bartlett and Wright's study. 24 Even if the 'third culture' is now a highly contested concept, links with debates around the term are by no means accidental. For a critical evaluation of t...

show abstract

Section: Literature Reviewmentioning

confidence: 99%

Towards a Poetics of the Mental Health Play

Drautzburg¹

2020

Göttinger Schriften Zur Englischen Philologie

View full text Add to dashboard Cite

show abstract

“…These images offer them alternative perspectives on the action, confronting them with the interconnectedness [and multiplicity] of experience. 49 For Lunney and Tompkins, theatre is a dialectical nexus of predetermined spatial and temporal projections coalescing while the performance unfolds about the mobile point of what can be known within the shifting site of audience. Those dramaturgical oscillations and heterogeneous mnemonic configurations which emerge from across the timeline are particularly active at Brodgar.…”

Section: Reaching Out To Touch Across the Space Of Distancementioning

confidence: 99%

Absence, Presence, Indexicality: TheMise en Scèneof ‘the Heart of Neolithic Orkney’

Marshall¹

2017

Theatre Research International

View full text Add to dashboard Cite

I sketch those characteristics of the mise en scène at the Ring of Brodgar stone circle and associated sites that might solicit within the visitor something like a dynamic performance. Drawing on surrealism, Robert Smithson and archaeology, I argue that the mise en scène at Brodgar – and the visitor's response to it – is characterized by a sense of presence which exists in a dialectical tension with the perception of that which is absent. Brodgar is indexical (like a photograph) and hauntological, in semiotic terms. The Neolithic site is, at some level, unknowable. The visitor becomes aware of coincident yet incompatible manifestations of time and space (heterochronia) and imagines the potential return of unknown, cryptic ritual performances (metatheatre). This solicits within the viewer something akin to Max Ernst's model of frottage. As Breton put it, ‘The imaginary . . . tends to become real’.

show abstract

“…For examples of book-length studies where 'heterotopia' operates as a central term, see (FISCHER-LICHTE and WIHSTUTZ 2012;TOMPKINS 2014). I agree with Solga (2019), however, that Foucault's cryptic concept can be useful to those involved in the production and consumption of theatre.…”

mentioning

confidence: 96%

Playing for and against the microphone : the theatrical soundstage, the cinematic meeting interface

Jovanović¹

2023

Theatralia

View full text Add to dashboard Cite

This article argues for an analogy between the early talkies and the video telephony software-based theatre productions that have proliferated since the outbreak of the COVID-19 pandemic: both the crude sound equipment employed for the late 1920s films and the static streaming and recording devices used to make online theatre/theatre online productions require the performer's close proximity to the microphone. The latter kind of artwork's 'user interface stage' is the site of a paradox, simultaneously fragmenting the spacetime of a written scene and reconstituting the fragments in alternately theatrical and cinematic fashions. I use Mint Theatre's The Gin Chronicles in New York (2020) as a source of examples of this innate contradiction's potential to transcend the notion of medium specificity (and its 'betrayal') that surrounded the emergence of the talkie and to help forge a new model for the Foucauldian heterotopia.

show abstract

Theatre's Heterotopias

Cited by 27 publications

References 0 publications

Towards a Poetics of the Mental Health Play

Towards a Poetics of the Mental Health Play

Absence, Presence, Indexicality: TheMise en Scèneof ‘the Heart of Neolithic Orkney’

Playing for and against the microphone : the theatrical soundstage, the cinematic meeting interface

Contact Info

Product

Resources

About