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Caryl Churchill’s Artificial and Orificial Bodies: Between Subjective and Non-Subjective Nobody’s Emotion or Affect

100%
Kębłowska-Ławniczak E.
Text Matters: A Journal of Literature, Theory and Culture
|
2017
|
issue 7
330-352
EN
This article analyzes the shift from emotion to affect in Caryl Churchill’s writing for the theatre, a process which becomes prominent in the later seventies and culminates in the production of A Mouthful of Birds, a project designed jointly with the choreographer David Lan. The effects of the transformation remain traceable in The Skriker, a complex play taking several years to complete. It is argued that there is a tangible and logical correlation between Churchill’s dismantling of the representational apparatus associated with the tradition of institutional theatre - a process which involves, primarily, a dissolution of its artificially constructed, docile bodies into orificial ones - and her withdrawal from the use of emotional expression in favour of the affective. In the following examination, emotions are conceived as interpretative acts modelled on cognition and mediated through representations while the intensity of affect remains unstructured. Often revealed through violence, pain and suffering, affect enables the theatre to venture into the pre-cognitive and thus beyond the tradition of liberal subject formation.
2
Publication available in full text mode
Content available

Caryl Churchill’s Artificial and Orificial Bodies: Between Subjective and Non-Subjective Nobody’s Emotion or Affect

100%
Kębłowska-Ławniczak E.
Text Matters: A Journal of Literature, Theory and Culture
|
2017
|
issue 7
330-352
EN
This article analyzes the shift from emotion to affect in Caryl Churchill’s writing for the theatre, a process which becomes prominent in the later seventies and culminates in the production of A Mouthful of Birds, a project designed jointly with the choreographer David Lan. The effects of the transformation remain traceable in The Skriker, a complex play taking several years to complete. It is argued that there is a tangible and logical correlation between Churchill’s dismantling of the representational apparatus associated with the tradition of institutional theatre - a process which involves, primarily, a dissolution of its artificially constructed, docile bodies into orificial ones - and her withdrawal from the use of emotional expression in favour of the affective. In the following examination, emotions are conceived as interpretative acts modelled on cognition and mediated through representations while the intensity of affect remains unstructured. Often revealed through violence, pain and suffering, affect enables the theatre to venture into the pre-cognitive and thus beyond the tradition of liberal subject formation.
3

Personal Versus Political Affairs in Churchill'sThis is a Chair

88%
Worpel L.
Human Affairs
|
2010
|
vol. 20
|
issue 4
376-382
EN
There are plenty of issues in the world to petition and fight for, yet each individual also has "battles" at home to contend with. Which is of more importance? We often separate the two indefinitely. In studying Caryl Churchill's work This Is a Chair, however, I would suggest the personal and political to be intimately related and possibly each even a causation of the other. To take care of one may be eliminating the problem of the other as well. Might political problems stem from petty, personal qualms? Even more specifically might jeopardizing moral norms affect the greater social order? If so, this would be a revelation and fresh pursuit in solving many of the monumental political issues which are faced today.
4
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Politicising Euripides: A Mouthful of Birds by Caryl Churchill and David Lan

88%
Kamińska A.
Anglica Wratislaviensia
|
2016
|
issue 54
23-32
EN
The article discusses A Mouthful of Birds by Caryl Churchill and David Lan in terms of its relation to its Greek inspiration: Euripides’ Bacchae. Contrary to Michael Billington’s opinion that the fascination with the classics which dominated the 1980s theatre in Britain led to the emergence of an ‘interpretative culture’ motivated by artists’ inability to address current political issues, the article analyses a 1980s play that uses its classical source precisely to make political statements. In the course of the article the intertextual links between A Mouthful of Birds and The Bacchae are analysed with special focus on the politics motivating the modern text. Julie Sanders’ theory of literary appropriation is used to discuss selected themes addressing feminist, postcolonial and gender politics.
5
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Drunken Language, Elliptical Politics: Caryl Churchill’s Oblique Protest Theatre

88%
Jones M.
Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre
|
2018
|
vol. 5
|
issue 1
11-20
EN
Can “political theatre” exist in today’s political climate? In the last few decades, our understanding of politics and theatre has undermined the basis on which prior generations of artists conceived of both politics and theatre. Caryl Churchill’s Drunk Enough to Say I Love You? sits at the intersection of critiques of dramatic theatre and new forms of post-dramatic, non-representational performance. The play tells the story of a man, Guy, who falls in love with a country, Sam, and critics have largely seen the play as an allegory for the “special relationship” between Britain and the United States. But while the play riffs on that metaphor, it also includes aspects that work against a political reading. Churchill’s depiction of the relationship as a sincere gay love affair raises questions about what it means to say that politicians are “in bed together.” As the play develops, the political critique and the personal relationships seem to work against each other, and the play becomes an elliptical invitation to think political theatre anew.
6
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“The dead and gone. The dying and the going”: S. Beckett A's Piece of Monologue and C. Churchill's Here We Go

75%
Suwalska-Kołecka A.
Heteroglossia- studia kulturoznawczo-filologiczne
|
2022
|
issue 13
73-88
EN
This article reflects on Samuel Beckett’s A Piece of Monologue (1979) and Caryl Churchill’s Here We Go (2015) as plays that engage with the theme of “the dying and the going”. Both playwrights are internationally renowned for their theatrical innovation, hence this article investigates how their plays explore the propensity of old age to transgress the limitations of theatrical representation and to induce heightened awareness of the audience. Beckett’s play resembles an extended poetic image whose minimalism parallels the diminishing powers customarily associated with ageing. Yet Beckett’s minimalism redirects the focus on what almost perishes, ceases to be, and affirms Speaker’s urge to tell a story and to persist with “the one matter.” As such, the limited resources of old age are not considered as a hindrance to addressing the mystery of human existence and instead become empowered by the artistic arrangement of the text. Caryl Churchill’s Here We Go resembles a triptych and its three parts employ first dialogue, then monologue, and finally resort to silence to address our mortality. The play’s brevity and the diversity of applied aesthetic and structural solutions are matched with a script that gives the director and actors ample scope for artistic freedom and creativity. Therefore in their investigation into old age and death both playwrights escape the demands of chronology and teleological narratives and employ daring and imaginative techniques to challenge the medium they work in and to confound the conventional expectations of the theatre audience.
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