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Profil monografie

Obsah
Preface, strany: 11-12  Full text
Údaje
Vydavatelia: Art Research Centre of the Slovak Academy of Sciences, Institute of Theatre and Film Research, VEDA Publishing House of the Slovak Academy of Sciences
Typ knihy: editorovaná kniha
Publikované: 13. 6. 2022
Rok vydania: 2018
Počet strán: 214
Jazyk: anglický
ISBN 978-80-224-1705-1 (print), ISBN 978-80-224-1705-1 (online)
Verejná licencia: Creative Commons License
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
O kapitole
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.
Údaje
Strany: 136 - 151
Jazyk: anglický
Rok vydania: 2018
Kľúčové slová:
Alice Birch, contemporary British theatre, the “affective turn”, feminism, Sarah Ahmed, happiness studies
Verejná licencia: Creative Commons License
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.