A Crystal Theatre: Suffering for Love
This chapter examines how performance practices can respond to the problems posed by mediatisation through the fabrication of a multiplied and fragmented theatricality. It considers Hans-Thies Lehmann’s notion of response-ability, Jacque Rancière’s account of the emancipated spectator and Deleuze’s argument that mediatisation has eroded the individual’s faith in the world. Drawing on Deleuze’s idea of believing in the world, his concepts of continuous variation and crystalline description, and Beckett’s study of Proust, it argues that Play and Not I create crystal theatres by multiplying the poles of theatrical intimacy. In so doing, it also considers Billie Whitelaw and Lisa Dwan’s accounts of playing Beckett’s MOUTH and questions around the relationships between the actor and their role, the real and the imaginary in performance.
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