دانلود کتاب Martin Crimp's Theatre: Collapse as Resistance to Late Capitalist Society

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Acknowledgements\nI Preliminaries I: Introduction and Rationale\nII Preliminaries II: Martin Crimp’s Theatre, a Pedagogy of Resistance\n 1 Martin Crimp’s Context\n 1.1 Late Capitalism and Societies of Control\n 1.2 A Post-Holocaust Writer: Capitalism and Barbarism\n 2 The Semiotic Potential of Collapse on Stage\n 2.1 Collapse on Stage: What it is and how it Works\n 2.2 I Have Witnessed: Testimony and Audience Responsibility\n 2.2.1 Auschwitz and Testimony\n 2.2.2 Audience, Resistance and Testimony\n 3 Redefining Ethics: A Collapsing Body\nIII Beginnings of a Dramaturgy: Violence, Memory and Retribution in The Treatment (1993)\n 1 Introduction: Collapse, ‘In-Yer-Face’ Theatre and the ‘Society of Spectacle’\n 2 The ‘Spectacle’ Filled our Pockets: Duplicity, Sexism and the Market\n 2.1 La Dérive: Marginal Spaces of Resistance\n 2.2 ‘Like A Disapproving Person’: Collapse, Pretence and Alienation\n 3 The Point of Rupture: Collapse and Barbarism\n 3.1 Stopping the Technology: Détournement, ‘Luddism’ and ‘Terrorism’\n 3.2 Clifford’s Eyes and the ‘Banality of Evil’\n 3.3 A Rewriting and a Parable of Ambition\n 3.4 Audience and Violence: From Voyeurs to Active Witnesses\n 4 Conclusion: Towards Subjectivity and Ethics\nIV Postdramatic Plays: Attempts on her Life (1997) and Face to the Wall (2002)\n 1 Interpretation, Self-Regulation and Postdramatism\n 1.1 Crimp and Postdramatism\n 2 Short Circuits of Desire: Language and Power in Attempts on her Life\n 2.1 The ‘Camera’, Narcissism, and the ‘Society of Spectacle’\n 2.2 ‘I Can’t’: A Body in Denial\n 2.3 Ready-mades, Language and Power\n 3 ‘The Stage, a Skull’: Male Collapse as Resistance in Face to the Wall\n 3.1 Fewer Emergencies (2005) and the Non-Hierarchical Theatrical Experience\n 3.2 ‘The Warm Metal - Thank You - of the Gun’: Interpretation and Violation\n 3.3 ‘Voyeurs in Bedlam?’: Re-Materializing the Audience\nV Dramatic Plays: Female Breakdown as Micropolitical Resistance\n 1 Stopping Time: Memory and Resistance in The Country (2000)\n 1.1 Introduction\n 1.1.1 Of Violence and Pathos\n 1.1.2 ‘Paper, Scissors, Stone’: A Narrative of Testimony and a Power Game\n 1.2 Collapse as Self-Awareness: Corinne’s Change\n 1.2.1 Collapse, Mercantilism and ‘Empire’\n 1.2.2 Virgil, Collapse and Testimony\n 1.3 ‘It is Only the Flesh’: Rebecca’s Moral Imagination\n 1.3.1 Collapse as Violence\n 1.3.2 Madness as Reason’s Other\n 1.4 Patchwork of Voices, Swarm of Resistance\n 1.4.1 Outbursts of Solidarity\n 1.4.2 Community of Resistance\n 1.5 ‘Oh, to Reverse’: Spiralling Towards Full Time\n 1.5.1 Collapsing Boundaries\n 1.5.2 Stopping Time: An Ethics of Resentment\n 1.5.3 Testimony and Late Capitalism\n 1.5.4 Path of Discovery: the Ethics of Spectatorship\n 1.5.5 To Survive: Self-Creation and the Paring Down of Selfhood\n 1.6 Conclusion: Turning Towards Psychology\n 2 Oppression, Resistance and Terrorism in Cruel and Tender (2004)\n 2.1 Sophocles, Crimp and Bondy\n 2.2 Radical Ethics: The Body as Weapon, Insight and Image\n 2.2.1 The Cartesian Self: Verticality and the Word\n 2.2.2 Amelia’s ‘Embodied’ Tongue\n 2.3 Of Shamans and Cyborgs: From Bodies of Mastery to Bodies of Need\n 2.3.1 Invocation and Ritual\n 2.3.2 A Utopia of Mutual Dependency\n 2.4 Collapse and Testimony: Late Capitalism and Totalitarianism\n 2.4.1 Inequality, Auschwitz and the Collapsing Self\n 2.4.2 Opening a Space of Exteriority\n 2.4.3 The Inheritance of Resistance\n 2.5 Conclusion: Memory as Imperative and Yearning\nVI Testimony and World Inequality in Crimp’s Adaptation of Anton Chekhov’s The Seagull (2006)\n 1.1 Introduction: Mirroring Fragments, Play-Within-a-Play\n 1.2 Testimony as Resistance: Crimp’s and Mitchell’s Play-Within-a-Play\n 1.3 ‘Cold, Blank, Distant’: Breakdown as Resistance\nVII General Conclusions: Martin Crimp’s Theatre: a Dramaturgy of Resistance\nVIII Works Cited\n Primary Sources\n Secondary Sources