TY  - BOOK
AU  - Delgado-García,Cristina
TI  - Rethinking Character in Contemporary British Theatre: Aesthetics, Politics, Subjectivity 
T2  - Contemporary Drama in English Studies ,
SN  - 9783110403909
U1  - 822.920927 22/ger
PY  - 2015///]
CY  - Berlin, Boston
PB  - De Gruyter
KW  - Theater--Great Britain--21st century
KW  - Charakter
KW  - Politik der Ästhetik
KW  - Postdramatisches Theater
KW  - Subjektivität
KW  - LITERARY CRITICISM / Drama
KW  - bisacsh
KW  - Character
KW  - Politics of Aesthetics
KW  - Postdramatic Theatre
KW  - Subjectivity
N1  - Frontmatter --; Acknowledgements --; Contents --; Preface: Character Remains --; Introduction --; 1. The Life, Death and Second Coming of Character --; 2. Figuring the Subject beyond Individuality --; 3. Singular Subjectivities --; 4. Collective Subjectivities --; Conclusion --; Appendix: Brief Survey of Character-less Plays, 1900 – Present --; Works Cited --; Index; restricted access; Issued also in print
N2  - The category of theatrical character has been swiftly dismissed in the academic reception of no-longer-dramatic texts and performances. However, claims on the dissolution of character narrowly demarcate what a subject is and how it may appear. This volume unmoors theatre scholarship from the regulatory ideals of liberal humanism, stretching the notion of character to encompass and illuminate otherwise unaccounted-for subjects, aesthetic strategies and political gestures in recent theatre works. To this aim, contemporary philosophical theories of subjectivation, European theatre studies, and experimental, script-led work produced in Britain since the late 1990s are mobilised as discussants on the question of subjectivity. Four contemporary playtexts and their performances are examined in depth: Sarah Kane’s Crave and 4.48 Psychosis, Ed Thomas’s Stone City Blue and Tim Crouch’s ENGLAND. Through these case studies, Delgado-García demonstrates alternative ways of engaging theoretically with character, and elucidating a range of subjective figures beyond identity and individuality. Alongside these analyses, the book traces a large body of work that has experimented with speech attribution since the early twentieth-century. This is a timely contribution to contemporary theatre scholarship, which demonstrates that character remains a malleable and politically-salient notion in which understandings of subjectivity are still being negotiated
UR  - https://doi.org/10.1515/9783110333916
UR  - https://www.degruyter.com/isbn/9783110333916
UR  - https://www.degruyter.com/document/cover/isbn/9783110333916/original
ER  -