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Slovak Theatre as a European Entity, strany: 13-20 Full text
Information
Publishers: Art Research Centre of the Slovak Academy of Sciences, Institute of Theatre and Film Research, VEDA Publishing House of the Slovak Academy of Sciences
Book type: edited book
Published: 13. 6. 2022
Edition year: 2018
Pages: 214
Language: English
ISBN 978-80-224-1705-1 (print), ISBN 978-80-224-1705-1 (online)
Public license: 
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.

This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
Chapter details
In: Theatre as a Value-based Discourse Slovak Theatre and Contemporary European Theatre Culture: Conference Proceedings from the International Scientific Conference 5th and 6th of October 2017 Bratislava, Slovakia
Clara Escoda
Divergent Subjects: Disrupting the Inherited Lifelines of Global Capitalism in Alice Birch’s Revolt. She Said. Revolt Again (2014)
This paper analyses Alice Birch’s Revolt. She Said. Revolt Again (2014), referred to by Birch herself as her “theatrical manifesto” (Birch, 2017). Radically subversive in terms of form, it is structured into three acts, each comprising different short scenes, which sketch the “affective scenarios”1 of neoliberal, consumer capitalism and
how they shape dominant understandings of love, marriage, romantic relationships, and happiness, among other things. Drawing on Sarah Ahmed’s statement, in Living a Feminist Life, that “power works as a mode of directionality, a way of orienting bodies in particular ways”2, the paper claims that, through its subversive, postdramatic form, Revolt. She Said. Revolt Again puts into practice a series of affective strategies which aim at inviting spectators to question the dominant affects, or life “orientation[s]” and inherited “lifelines” , of patriarchal, neoliberal capitalism. Such strategies, which are the affective emphasis carried by some words, purposefully capitalized, and which can be performed with an affective charge, and the introduction of a character/actor confusion which takes place in critical moments, aim at creating an indeterminacy which may contribute to questioning the objects of happiness in Western society. Furthermore, it aims to create a divergent type of subject, one who is “dis-oriented” from the life paths and definitions of happiness of neoliberalism, thus also pointing the way to a possible reconstruction of values.
Information
Pages: 136 - 151
Language: anglický
Edition year: 2018
Keywords:
Alice Birch, contemporary British theatre, the “affective turn”, feminism, Sarah Ahmed, happiness studies
Public license:
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.

This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.