LEADER 04040oam 22005414a 450 001 9910480888403321 005 20190827040541.0 010 $a1-5261-2992-2 035 $a(CKB)4340000000248643 035 $a(MiAaPQ)EBC5313253 035 $a(OCoLC)1030038589 035 $a(MdBmJHUP)muse67453 035 $a(EXLCZ)994340000000248643 100 $a20180330e20182012 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 10$aTrauma-Tragedy$eSymptoms of contemporary performance /$fPatrick Duggan 210 1$aBaltimore, Maryland :$cProject Muse,$d2018 210 3$aBaltimore, Md. :$cProject MUSE, $d2018 210 4$dİ2018 215 $a1 online resource (225 pages) $cillustrations 311 $a0-7190-9988-9 311 $a0-7190-8542-X 320 $aIncludes bibliographical references (pages 201-212) and index. 327 $aTrauma's performance genealogy -- Trauma-tragedy : a structure of feeling -- Mimetic shimmering and the performance punctum -- Performance 'texts' as sites of witness -- Being there : the 'presence' of trauma -- Another view -- Conclusion : trauma-tragedy and the contemporary moment. 330 $aTrauma-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 - social, personal, political, violent, psychological, fictional, local, global - 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 the key theories within performance studies and its analysis of key practitioners and performances (from Sarah Kane to Soci?etas 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 at all levels. Yet its rigorous and incisive interrogation of the complex relationship between performance, spectatorship and trauma make it of particular interest and usefulness to scholars and specialists. Duggan explores ideas around the phenomenological and socio-political efficacy and impact of performance in relation to trauma. Addressing questions of witnessing, presence, ethics and kinaesthetics, Trauma-Tragedy employs trauma and performance theories as the central theoretical frames but draws also on sociology, postmodernism and metaphysics in analyzing a range of contemporary performances as well as social and "everyday" events that might legitimately be modeled as performative. Ultimately, the book advances a new performance theory or mode, 'trauma-tragedy', that suggests much contemporary performance, from live art through the so-called 'in-yer-face' theatre of the 1990s to popular theatre, can generate the sensation of being present in trauma through its structural embodiment in performance, or 'presence-in-trauma effects'. This book is aimed at scholars and students of Theatre, Drama and Performance, Trauma Studies, Cultural Studies, Sociology, Media and Communication and those concerned with questions of trauma, politics, ethics, and aesthetics in other disciplines. 606 $aPerformance art 606 $aTheater and society 606 $aViolence in the theater 606 $aPain in the theater 606 $aPsychic trauma in the theater 608 $aElectronic books. 615 0$aPerformance art. 615 0$aTheater and society. 615 0$aViolence in the theater. 615 0$aPain in the theater. 615 0$aPsychic trauma in the theater. 676 $a792.013 700 $aDuggan$b Patrick$f1981-$01038028 801 0$bMdBmJHUP 801 1$bMdBmJHUP 906 $aBOOK 912 $a9910480888403321 996 $aTrauma-Tragedy$92459347 997 $aUNINA