DepositJacques Lecoq and the Studio Tradition

This chapter, from The Routledge Companion to Jacques Lecoq (ed. Mark Evans and Rick Kemp, 2016), situates the École Internationale de Théâtre Jacques Lecoq within the twentieth century tradition of the Theatre Studio as a site and process of training and experimental practice.

DepositThe Comedy of Errors (review)

Director Sean Graney’s work can typically be categorized as either ex- plicitly experimental or engaging with the tradition of adaptation. These aesthetic trajectories merged in the Court Theatre’s The Comedy of Errors, a meaty 90-minute production focused on skirting buffoonery in order to find translatable humor within William Shakespeare’s farcical language. As Graney stated during a post-performance discussion, “I wanted the play to feel funny in new ways,” which is an often-difficult task given the play’s archaic humor. Indeed, Errors has a performance history marked by the inability to reconcile its absurd elements, on which the plot and play depend, with contemporary tastes. Graney addressed this problem by focusing on issues of identity confusion and the farce tradition. The result was a pliant dark comedy anchored by bodily representations of humor and highlighting the problem of Renaissance comedic anachronisms.

DepositThe correspondence of the arts in a Fin de Siècle Magazine. The “Livre d’Art” at the crossroads of Modernism

The main topic of this article is the history of a rare and precious French magazine of the late Nineteenth century, in which a vivid and crucial discussion about arts and their inter-relation grew the more and more intense in the short space of four years (1892-1896). The “Livre d’Art” was first conceived as a simple booklet to be distributed to the spectators of the experimental plays of the ”Théâtre d’Art”, but it soon became a sophisticated art object, which merged figurative and poetic art in order to create a mutual relation of authentic correspondence among them, thus overcoming the wagnerian idea of Gesamtkumstwerk. We are then going to focus on the second series of the Livre d’Art (1896), that exhibits a new tendency towards Modernism and Internationalism, opening towards Belgian, German and English artistic and literary movements, such as Jugendstil and Arts and Crafts, but opening also to contemporary theatre aesthetics, publishing i.e. Jarry’s Ubu Roi.

MemberKate Costello

Kate Costello is a doctoral candidate at the University of Oxford, specializing in modern Chinese literature and culture. Her doctoral thesis examines bilingualism, language games and word play in modern and contemporary experimental literature. Her research focuses on the relationship between bilingualism and linguistic experimentation, investigating the ways that multiple language competencies are deployed within a literary text. Drawing on the work of a broad range of authors that do not fit neatly into Sinophone, Francophone, or Anglophone canons, her thesis resituates these authors within a framework of interlingual writing. Paying special attention to the creative manipulation of sound, script, and syntax, her dissertation examines the playful, devious and irreverent ways that bilingual competencies manifest themselves in experimental writing. Her research interests extend to film, theatre, and text-based visual arts practices. Kate has a strong interest in linguistics and critical theory, and is co-convener of the Oxford Comparative Criticism and Translation Discussion Group. She has presented papers at major international conferences including the American Comparative Literature Association annual meeting, the Modern Language Association annual convention, the Association for Asian Studies Annual Conference, the Association for Chinese Literature and Comparative Literature biannual conference, and the Cognitive Futures in the Humanities annual conference. Kate is also a literary translator and she has translated short stories, poems and essays by Renshun Jin, Su Xian, and Wa Lan. Her translations have appeared in Washington Square ReviewChinese Arts and Letters, the LA Review of Books China Channel, Paper Republic and Quarterly Asia, as well as the 2018 Seoul International Writer’s Festival Anthology.  

DepositShattering Hamlet’s Mirror: Theatre and Reality by Marvin Carlson

In his recent monograph, Marvin Carlson develops the premise first established in The Haunted Stage: Theatre as Memory Machine (2003): that theatre capitalizes on the memories of audiences to provide opportunities for meaning. The past lives of objects and the previous roles of actors ghost performances that follow. In this new monograph, Carlson argues that this hauntological feature is crucial when examining the tension between reality and imitation—a primary concern of modern and postmodern theatre. Using Hamlet’s allusion to Socrates as an organizing conceit, each chapter considers the theatre’s turn away from mimesis to the appropriation of the “real,” including borrowing words, the body of the actor, the affordances of physical surroundings, the prop, and, eventually, the audience itself.