Playwriting and globalisation: Towards a site-unspecific theatre

Contemporary Theatre Review

Volumn 16, Issue 1, 2006, Pages 97-113

  Rebellato, Dan ^a  

^a NONE

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EID: 34347306364     PISSN: 10486801     EISSN: None     Source Type: Journal    
DOI: 10.1080/10486800500451047     Document Type: Article

References (66)

1. David Wiles, A Short History of Western Performance Space (Cambridge: Cambridge University Press, 2003), p. 7
2. Colin Hines, Localization: A Global Manifesto (London: Earthscan, 2000)
3. Walden Bello, Deglobalisation: Ideas for a New World Economy, 2nd edn (London: Zed Books, 2004)
4. for the Bové protest see Norm Diamond, 'The Roquefort Revolution', in Notes from Nowhere (eds), We Are Everywhere: The Irresistible Rise of Global Anticapitalism (London: Verso, 2003), pp. 278-285
5. Michel de Certeau, The Practice of Everyday Life, trans. Steven Rendall (Berkeley: University of California Press, 1984), ch. 7
6. Cf. Amory Starr, Global Revolt: A Guide to the Movements against Globalisation (London: Zed Rooks, 2005), pp. 174-252
7. One might see similar succour for the antiglobalisation movement, and an implicit endorsement of localisation, in his rallying cry 'let us wage a war on totality' Jean-François Lyotard, The Postmodern Condition: A Report on Knowledge (Manchester: Manchester University Press, 1984), p. 82
8. Wiles, Short History, p. 1
9. Cathy Turner, 'Palimpsest or Potential Space? Finding a Vocabulary for Site-Specific Performance', New 'Theatre Quarterly, 20:4 (November 2004), 373-390 (p. 385)
10. Dennis Oppcnheim, Interview, in Nick Kaye (ed.), Art into Theatre: Performance Interviews and Documents (Amsterdam: Harwood Academic, 1996), pp. 57-72 (p. 66)
11. De Certeau, Practice, p. 135
12. See the official websites for details: < http://www.lesmis.com/ inspiration/facts/chronology. cfm> and (visited 4 September 2005)
13. Sheridan Morley and Ruth Leon, Hey, Mr Producer! The Musical World of Cameron Mackintosh (London: Weidenfeld & Nicolson, 1998), p. 71
14. Jonathan Burston, 'Spectacle, Synergy and Megamusicals: The Global-Industrialisation of the Live-Entertainment Economy', in James Curran (ed.), Media Organisations in Society (London: Arnold, 2000), pp. 69-83 (p. 70)
15. (visited 4 September 2005)
16. , updated: 21 September 2005 (visited 22 September 2005)
17. Tony Royle, Working for McDonald's in Europe: The Unequal Struggle, Routledge Studies in Employment Relations (London: Routledge, 2000), pp. 20-23
18. George Ritzer, The McDonalization of Society: An Investigation into the Changing Character of Contemporary Social Life, rev. edn (Thousand Oaks: Pine Forge, 1996), p. 30
19. Michael Goveney, Cats on a Chandelier: The Andrew Lloyd Webber Story (London: Hutchinson, 1999), p. 98
20. Edward Behr and Mark Steyn, The Story of Miss Saigon (London: Jonathan Cape, 1991), p. 130
21. Burston, 'Spectacle', p. 78
22. Susan Russell, 'Corporate Theater: The Revolution of the Species', MA thesis, Florida State University, 2003, p. 57. (visited 22 September 2005)
23. Jonathan Burston, 'Theatre Space as Virtual Place: Audio Technology, the Reconfigured Singing Body, and the Megamusical', Popular Music, 17:2 (May 1998), 205-218 (p. 208)
24. Burston 'Theatre Space', pp. 210-211
25. Tom Pinhorn, 'Keeping the Show on the Road...' Stage Door, 1 (October 1999), p. 7
26. I have taken the phrase from Nick Higgins's talk, 'The Politics and Culture of Transaction', delivered at Suspect Culture's symposium, Theatre and the World of Money, Tramway, Glasgow, 12 November 2004
27. George Cohon and David Macfarlane, To Russia with Fries (Toronto: McClelland & Stewart, 1997), pp. 201-202
28. Morley and Leon, Hey, Mr Producer!, p. 72
29. 'The Miss That Became a World Hit', Stage Door, 1 (October 1999), p. 11
30. Quoted in Stephen Citron, Sondbeim and Lloyd-Webber: The New Musical (London: Chatto & Windus, 2001), pp. 276-277
31. Ritzer, The McDonaldization of Society, pp. 9-11
32. Susan Bennett has interestingly argued that the Toronto premiere of The Lion King showed a more pervasive pattern of local references though the examples she cites seem occasional and not to overturn her (acknowledged) sense that the show was a skilful reproduction of the original production. Susan Bennett, 'Disney North: The Lion King, Canadian Theatre Review, 105 (Winter 2001), pp. 67-68, and there was a similar attempt to 'localise' Mamma Alia! in Madrid. It is also the case that for audience members their experience of the show will be inserted into their particular personal and social circumstances, but, as I'll touch on in my discussion of Certeau, I do not feel that we should allow our recognition of our immense creativity and ingenuity' as cultural readers let global capital's strategy of impoverishment and commodification off the hook
33. Richard Serra, Writings Interviews (London and Chicago: University of Chicago, 1994), p.' 194
34. See Peter Willetts, 'Transnational Actors and International Organizations in Global Polities', in John Baylis and Steve Smith (eds), The Globalisation of World Politics (Oxford: Oxford University Press, 2001), pp. 356-383
35. Immanuel Wallerstein, The Capitalist "World Economy (Cambridge: Cambridge University Press, 1979), pp. 70-71
36. John Cavanagh et al., Alternatives to Economic Globalisation: A Better World Is Possible (Bcrrett-Koehler: San Francisco, CA, 2002), p. 60. This is a report collectively written by 'International Forum on Globalisation'. Colin Hines, Walden Bello, Jerry Mander, and Helena Norberg-Hodge, all strong proponents of localisation, arc among the report's authors
37. Hines, Localization, p. 32
38. Bruce Robbins, 'Actually Existing Cosmopolitanism', in Pheng Cheah and Bruce Robbins (eds), Cosmopolitics: Thinking and Feeling Beyond the Nation (Minneapolis and London: University of Minnesota Press, 1998), pp. 1-19 (p. 3)
39. De Certcau, Practice, p. 93
40. See also his association of place (which is 'space' seen from this celestial perspective) with death, p. 118
41. Immanucl Kant, Critique of the Power of Judgment ed. Paul Guyer, trans. Paul Guyer and Eric Matthews (Cambridge University Press, 2000), Ak. 5:244-260. (The page numbers refer to the Prussian Academy Edition of Kant's works (1900-), which all scholarly editions adopt.)
42. 'Judiciousness in Dispute, or Kant after Marx' (trans. Cecile Lindsay) in The Lyotard Reader, ed. Andrew Benjamin (Oxford: Blackwell, 1989), pp. 324-259
43. Lyotard sets out this argument in several different places, including 'On What is "Art"' in Toward the Postmodern, eds Robert Harvey and Mark S. Roberts (New Jersey and London: Humanities, 1993) pp. 164-175
44. 'The Sublime and the Avant-Garde' (trans Lisa Liebman) in Jean-François Lyotard, The Inhuman: Reflections on Time (Stanford, CA: Stanford University Press, 1991), pp. 89-107; and, extensively, in Lessons on the Analytic of the Sublime, trans. Elizabeth Rottenberg (Stanford, CA: Stanford University Press, 1994)
45. Jean-François Lyotard, The Differend: Phrases in Dispute (Manchester: Manchester University Press, 1988), p. 181.'
46. Kant, Judgment, Ak. 5: 254
47. Kant, Judgment, Ak. 5: 262
48. Karl Marx and Frederick Engels, The Communist Manifesto ed. Gareth Stedman Jones (Harmondsworth: Penguin, 2002), p. 223
49. Lyotard, Inhuman, P. 105
50. Kwame Anthony Appiah, 'Cosmopolitan Patriots', in Pheng Cheah and Bruce Robbins (eds), Cosmopolitics: Thinking and Feeling Beyond the Nation (Minneapolis: University of Minnesota Press, 1998), pp. 91-114 (P-91)
51. Lyotard, Lessons, p. 55
52. Theodor W. Adorno, Minima Moralia: Reflections from Damaged Life, trans. E. F. N. Jephcott (London: Verso, 1974), p. 212
53. Thcodor W. Adorno, Negative Dialectics, trans. E. B. Ashton (London: Routledgc, 1973), pp. 386-390
54. Nick Kaye, Site-Specific Art: Performance, Place and Documentation (London: Routledge, 2000), p. 188
55. Cliff McLucas and Mike Pearson [of Brith Gof], Interview, in Kaye (ed.), Art into Theatre, pp. 209-234 (p. 211)
56. Wrights & Sites, 'Mis-Guiding the City Walker'. 2004 (visited 19 April 2005)
57. Quoted in Kaye, Site-Specific Art, p. 56
58. David Greig, Plays One (London: Methuen, 2002), p. 165
59. See my introduction to Greig, Plays, pp. xx
60. Barry Le Va, Interview, in Kaye (ed.), Art into Theatre, pp. 41-55 (p. 50)
61. Nick Hern, Personal Email, 12 May 2004
62. Sarah Kane, Complete Plays (London: Methuen, 2001), pp. 24, 39, 50, 57
63. Martin Crimp, Plays Two (London: Faber and Faber, 2005), p. 202
64. Howard Barker, Collected Plays Volume One (London: Calder, 1990), p. 246
65. Thcodor W. Adorno, 'Commitment', in Rolf Tiedmann (ed.), Notes to Literature: Volume Two (New York: Columbia University Press, 1992), pp. 76-94 (p. 93)
66. Tony Blair, in his speech to the Labour Party Conference 2005, eulogised: 'A baby is born. The father takes a photo on his mobile. In seconds relatives around the world can see, and celebrate. A different world to the one we were born inro' and then, without explanation, passed on to talking about globalisation, which he presented, equally ideologically, as inevitable, 'I hear people say we have to stop and debate globalisation. You might as well debate whether autumn should follow summer' (visited 3 October 2005)