Hdl Handle:
http://hdl.handle.net/10034/604950
Title:
The Events: Immanence and the Audience
Authors:
Pattie, David
Abstract:
David Greig’s The Events (2013) stages the aftermath of a traumatic event; a cleric tries to come to terms with the massacre of her multicultural choir. The play uses two actors (one playing the cleric, and the other playing all the other main roles, including that of the killer). The cast, however, also includes a choir, drawn from the town where the show is being performed: the choir sings, and takes on small speaking roles (reading their lines from the script). They also serve as an audience for the action, occupying tiered seating at the back of the stage. The choir serves as a powerful reminder of what Laura Cull, in Theatres of Immanence: Deleuze and the Ethics of Performance (2012) identifies as Deleuzian immanence: a performance which stages “the participation, multiplication and extension of the human body – understood as that which is produced by relations of force and encounters with the affects of other bodies” (10). In this article, I argue that the strong affect generated by the play in performance stems mainly from the positioning of the choir, the performers and the audience as, simultaneously, participants and witnesses to trauma; and from the immanent relation of actors, choir and audience within the structure of the performance event.
Affiliation:
University of Chester
Citation:
Pattie, D. (2016). The Events: Immanence and the audience. Journal of Contemporary Drama in English, 4(1): 1–12. DOI: 10.1515/jcde-2016-0005
Publisher:
de Gruyter
Journal:
Journal of Contemporary Drama in English
Publication Date:
2016
URI:
http://hdl.handle.net/10034/604950
DOI:
10.1515/jcde-2016-0005
Additional Links:
http://www.degruyter.com/view/j/jcde
Type:
Article
Language:
en
EISSN:
2195-0164
Appears in Collections:
Performing Arts

Full metadata record

DC FieldValue Language
dc.contributor.authorPattie, Daviden
dc.date.accessioned2016-04-11T08:52:49Zen
dc.date.available2016-04-11T08:52:49Zen
dc.date.issued2016en
dc.identifier.citationPattie, D. (2016). The Events: Immanence and the audience. Journal of Contemporary Drama in English, 4(1): 1–12. DOI: 10.1515/jcde-2016-0005en
dc.identifier.doi10.1515/jcde-2016-0005en
dc.identifier.urihttp://hdl.handle.net/10034/604950en
dc.description.abstractDavid Greig’s The Events (2013) stages the aftermath of a traumatic event; a cleric tries to come to terms with the massacre of her multicultural choir. The play uses two actors (one playing the cleric, and the other playing all the other main roles, including that of the killer). The cast, however, also includes a choir, drawn from the town where the show is being performed: the choir sings, and takes on small speaking roles (reading their lines from the script). They also serve as an audience for the action, occupying tiered seating at the back of the stage. The choir serves as a powerful reminder of what Laura Cull, in Theatres of Immanence: Deleuze and the Ethics of Performance (2012) identifies as Deleuzian immanence: a performance which stages “the participation, multiplication and extension of the human body – understood as that which is produced by relations of force and encounters with the affects of other bodies” (10). In this article, I argue that the strong affect generated by the play in performance stems mainly from the positioning of the choir, the performers and the audience as, simultaneously, participants and witnesses to trauma; and from the immanent relation of actors, choir and audience within the structure of the performance event.en
dc.language.isoenen
dc.publisherde Gruyteren
dc.relation.urlhttp://www.degruyter.com/view/j/jcdeen
dc.rights.urihttp://creativecommons.org/licenses/by-nc-nd/4.0/en
dc.subjectTheatreen
dc.subjectSpectatorshipen
dc.titleThe Events: Immanence and the Audienceen
dc.typeArticleen
dc.identifier.eissn2195-0164en
dc.contributor.departmentUniversity of Chesteren
dc.identifier.journalJournal of Contemporary Drama in Englishen
dc.date.accepted2015-09-01en
or.grant.openaccessYesen
rioxxterms.funderxxen
rioxxterms.identifier.projectxxen
rioxxterms.versionVoRen
rioxxterms.licenseref.startdate2017-06-01en
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