Waiting

Shalson, Lara

doi:10.1080/10486801.2013.765128

Cited by 2 publications

(1 citation statement)

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“…Lara Shalson has argued that 'for many people, twentieth-century theatre history, at least, pivots around an instance of waiting'. 5 Citing Samuel Beckett's paradigmatic play of waiting, Waiting for Godot (1953), Shalson observes that in the play 'waiting is not just what is represented onstage; it is what is done, collectively, by characters and audience alike. In a play in which he for whom everyone waits never arrives, waiting itself becomes the event of theatre'.…”

Section: Immobility/immobilization and Stillnessmentioning

confidence: 99%

Dramaturgies of the Left-Behind: Mobility and Stickiness inThe Disappearances Project

Little¹

2016

Theatre Research International

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In the verbatim theatre performance The Disappearances Project (2011–13), Australian company Version 1.0 explored the state of unresolved loss felt by those left behind by missing persons. Rather than relying on verbatim testimony to simply ‘tell’ the stories of the left-behind, directors Yana Taylor and David Williams sought to immerse the audience in an indeterminate world, characterized by pathologies of endless searching and waiting, and a sense of paralysing loss. In this article, I argue that the performance hinged on dramaturgical practices of stillness, slowed movement and friction to produce the disturbing sense of ‘sticky’ indeterminacy characteristic of the experience of the left-behind. To develop this interpretation, I turn to the post-disciplinary field of mobility studies, which highlights the movement (or otherwise) of people, objects, information and capital, as well as embodied experience and sensory and kinesthetic environments. This provides ways to identify and analyse mobility-as-dramaturgy as well as the co-production of affective atmospheres within Disappearances and the wider field of performance.

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Section: Immobility/immobilization and Stillnessmentioning

confidence: 99%