Naming Theatre: Demonstrative Diagnosis in Performance by James Frieze (auth.)

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By James Frieze (auth.)

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Extra resources for Naming Theatre: Demonstrative Diagnosis in Performance

Sample text

This solitary item – a hospital gurney as Vogel imagines it, but a sofa in Anne Bogart’s production – constantly changes but never changes. 9 Together, the gloves and the gurney maintain the shadow presence of the waiting-room throughout the journey. As Ann Linden observes, they are a quintessentially Vogelian spin on prop-as-formalist device, allowing us to see as if the first time, but are about noticing our own serial ‘re-remembering’ (Linden, 2002, p. 242). They take us on a phantom journey, an anti-escape, in which Anna’s denial of her actual circumstances informs our own immersion in and detachment from the narrative.

Like Forced Entertainment, Ruhl loves to effect a kind of joyous melancholy via vertiginous oscillation between romantic storytelling and cool, anti-romantic urbanity. Both Eurydice and The Travels recuperate a contemporary sense of disconnection from the past by importing the romantic otherness of the classical. In both cases, names allow play by acting as the stimulus for language games that improperly classicize the modern and modernize the classical. Contriving some doable activities appropriate to the names ‘Oracle’ and ‘Delphi’ in her A–Z, Cathy Naden decides to look for a fortune-teller.

There must be – GARÇON: Non. Only the Germans have a word for that. (Vogel, 1996, p. 25) For the Garçon, the anus is both out of bounds and unnameable. Anna’s hands-on French lesson, a pastiche of the Henry and Katharine scene of intimate royal encounter in Shakespeare’s Henry V, invokes the deep-rooted link within cultural consciousness between disease and foreigners. Noting that dirt is matter out of place, sociologist Mary Douglas asserts that associations between foreignness and contamination are psychically and socially fundamental (Douglas, 1984, p.

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