Theatre, Communism, and Love
Publication Year: 2013
Published by: University of Michigan Press
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Title Page, About the Series, Other Works in the Series, Copyright, Dedication
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Throughout the writing of this book I was fortunate to work in the Department of Drama at Queen Mary University of London. Colleagues and students alike made the department a truly stimulating and supportive place to be, to work, and to think. I am grateful to them all. I owe particular thanks, for conversations that contributed in tangible ways to the development...
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The Yetis came as a surprise. That they possessed redemptive power was also unexpected. They appeared about half an hour through the performance of B.#03, the Berlin episode of Socìetas Raffaello Sanzio’s Tragedia Endogonidia, presented at the Hebbel Theater in 2003.1 They were white, hairy, and amiable. They enclosed part of the stage—which had recently...
One. Theatre and Communism after Athens
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We are sitting in the theatre, and we are worrying about community. We are not alone; much work has already preceded us in thinking about the relationship between our attendance at the theatre and our participation in both the social and the political dimensions of community. In this chapter my aim is to move between the first of the three terms with which this...
Two. Of Work and Time
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It’s all over. The Professor and his wife, Yelena, have gone to Kharkov, unable to stand life in the country a moment longer. The Professor fears, perhaps, that Vanya will take another pop at him with the gun. Yelena needs to escape from the potential entanglements arising from her feelings for the Doctor and Vanya’s feelings for her. Feelings we might care to...
Three. All Theatre, All the Time
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In the autumn of 1928 the Latvian theatre director Asja Lacis visited Berlin as part of her work for Narkompros, the culture and education department of the government of the Soviet Union.1 Among her priorities for this visit, undertaken as a member of the film section of the Soviet trade mission, was to make contact, on behalf of the “Proletarian Theatre” group...
Four. Of Work, Time, and Revolution
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The theatre is about to open. Someone is speaking across the end of the opening titles: “Un film en train de se faire.”1 As the titles give way to the film they authorize—“ Visa de contrôle numéro 32862”—the lights, if you like, come up on a forestage, a kind of balcony or terrace, it seems, upon which a young man holding a book is pacing, reading aloud from his...
Five. Of Work, Time, and (Telephone) Conversation
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Once upon a time, back in the second decade of neocapitalism, or, as it is now more familiarly known, post-Fordism, a telecommunications monopoly, still quite recently released into the private sector, numbered among its subsidiaries a market research company that employed a shifting population of mostly young theatre professionals to conduct telephone...
Six. Solitude in Relation
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The thing about Yetis is that no one knows what they want. They come from nowhere and return there. Not only do they live outside human society, but they are unconstrained by historical time. They are, of course, the productions of a utopian imaginary, mysterious inhabitants of a Shangri-La preserved among snowy peaks against the contaminations of capitalist...
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Page Count: 224
Publication Year: 2013
Series Title: Theater: Theory/Text/Performance