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2017 | 7 | 291-304

Article title

Theatre as Contagion: Making Sense of Communication in Performative Arts

Content

Title variants

Languages of publication

EN

Abstracts

EN
Contagion is more than an epidemiological fact. The medical usage of the term is no more and no less metaphorical than in the entire history of explanations of how beliefs circulate in social interactions. The circulation of such communicable diseases and the circulation of ideas are both material and experiential. Diseases and ideas expose the power and danger of bodies in contact, as well as the fragility and tenacity of social bonds. In the case of the theatre, various tropes of contagion are to be found in both the fictional world on the stage (at least since Sophocles’ Oedipus Rex) and in many theories defining the rules of interaction between theatre audiences, fictitious characters and/or performers. In consequence, the historically changing concept of contagion has in many respects influenced how mimesis was conceived and understood. The main goal of my article is to demonstrate how the concept of contagion has changed over the last few decades and how it may influence our understanding of the idea of mimesis and participation in performative arts. This will be achieved in two steps. Firstly, I will compare the concept of contagion as the outbreak narrative that had influenced, among others, Antonin Artaud’s The Theater and the Plague with the more recent and dynamic concept of epidemic structured around the tipping point. Secondly, I will look for performative art forms with similar structure of audience responses, analyzing Mariano Pensotti’s project Sometimes I Think, I Can See You (2010), in order to demonstrate new forms of performativity and (re)presentation.

Year

Issue

7

Pages

291-304

Physical description

Dates

published
2017-10-16

Contributors

  • Jagiellonian University

References

  • Aristotle. Poetics. Trans. Ingram Bywater. Oxford: Clarendon, 1962. Print.
  • Artaud, Antonin. The Theater and Its Double. Trans. Mary Caroline Richards. New York: Grove, 1958. Print.
  • Augé, Marc. Non-Places. Introduction to an Anthropology of Supermodernity. Trans. John Howe. London: Verso, 1995. Print.
  • Bishop, Claire. Artificial Hells. Participatory Art and Politics of Spectatorship. London: Verso, 2012. Print.
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  • Fischer-Lichte, Erika. Performativität. Eine Einführung. Bielefeld: Transcript, 2012. Print.
  • Fischer-Lichte, Erika. The Transformative Power of Performance: A New Aesthetics. Trans. Saskya Iris Jain. London: Routledge, 2008. Print.
  • Foster, Susan Leigh. “Movement’s Contagion: The Kinesthetic Impact of Performance.” The Cambridge Companion to Performance Studies. Ed. Tracy C. Davis. Cambridge: Cambridge UP, 2008. 46–59. Print.
  • Garner, Stanton B. “Artaud, Germ Theory, and the Theatre of Contagion.” Theatre Journal 1 (2006): 1–14. Print.
  • Gladwell, Malcolm. The Tipping Point. How Little Things Can Make a Big Difference. Boston: Little, Brown and Company, 2000. Print.
  • Girard, René. A Theatre of Envy: William Shakespeare. New York: Oxford UP, 1991. Print.
  • Jopek, Joanna. “Praktyka porażki. Próby performatywności negatywnej.” Didaskalia 115–116 (2013): 43–49. Print.
  • Latour, Bruno. The Pasteurization of France. Trans. Alan Sheridan and John Law. Cambridge: Harvard UP, 1993. Print.
  • McNeil, William H. Plagues and People. New York: Doubleday, 1976. Print.
  • Savarese, Nicola. “1931 Antonin Artaud Sees Balinese Theatre at the Paris Colonial Exposition.” Trans. Richard Fowler. The Drama Review 3 (2001): 51–77. Print.
  • Wald, Priscilla. Contagious Cultures, Carriers, and the Outbreak Narrative. Durham: Duke UP, 2008. Print.
  • Wehrle, Annika. Passagenräume. Grenzverläufe alltäglicher und performativer Praxis im Theater der Gegenwart. Bielefeld: Transcript, 2015. Print.

Document Type

Publication order reference

Identifiers

YADDA identifier

bwmeta1.element.ojs-doi-10_1515_texmat-2017-0016
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