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Book Details
Abstract
Theatre, Time and Temporality is the first book-length exploration of the subject of temporality within theatre and performance. David Ian Rabey brings in sources ranging from medieval and Renaissance theatre to contemporary performances – in addition to recent writings from physics, philosophy, and psychology – to analyse ways that time can be presented, communicated and transformed in the theatre. How do we experience time in theatre, and how can that experience be altered or manipulated? Rabey’s analysis and exploration will spark discussion among students and scholars of drama, as well as among practicing performers and dramatic writers.
Table of Contents
| Section Title | Page | Action | Price |
|---|---|---|---|
| Cover | Cover | ||
| Half Title | i | ||
| Title | iii | ||
| Copyright | iv | ||
| Contents | ix | ||
| Acknowledgements | xiii | ||
| Introduction | 1 | ||
| Part I: Theatre in Time | 7 | ||
| Chapter 1: Whose Time Is It? | 9 | ||
| What Fundamental Things Apply? | 11 | ||
| Time Is Ticking (Clock of The Heart) | 14 | ||
| Temporality: What Is ‘The Time’? | 16 | ||
| Intensifying Combinations: Theatrical Time | 19 | ||
| Melting Clocks and Snapped Elastics | 21 | ||
| Wild Mercury | 24 | ||
| Points of Departure | 25 | ||
| Creative Tension | 27 | ||
| Stretch and Flow | 28 | ||
| Cause and Effect | 29 | ||
| Slaves To The Rhythm | 29 | ||
| Morality and Money | 31 | ||
| (Un)Doing The Maths | 32 | ||
| Beating The Bounds | 33 | ||
| Chapter 2: Theatre in Time | 39 | ||
| Starting The Day | 41 | ||
| Interlude: Ways of Speed | 41 | ||
| Starting The Night | 42 | ||
| Chronos and Kairos | 48 | ||
| Bachelard and The Dialectic of Duration | 53 | ||
| Prigogine and Theatre As Dissipative Structure | 56 | ||
| Theatre As Diffusive Resonance: Green’s Random | 58 | ||
| Theatre As Dissipative Structure: Wesker’s The Kitchen | 60 | ||
| Theatre As Chaotic Map: Beckett’s Krapp’s Last Tape | 62 | ||
| Barbara Adam and Quantum Theatrics | 66 | ||
| Chronos V. Kairos: Thomas’s Flowers of The Dead Red Sea:‘The Whole Fucking Shit Palace Falls on Our Heads’ | 70 | ||
| Theatrical Timescapes | 72 | ||
| Interval: A Hole in The Night | 77 | ||
| Part Ii: Time in Theatre | 83 | ||
| Chapter 3: Shapes of Time | 85 | ||
| Everything Must Change | 87 | ||
| Distinctions in Time | 89 | ||
| Models of Theatrical Time: A Survey | 89 | ||
| Temporal ‘Thickness’ in Morality Plays | 92 | ||
| Dr Faustus: ‘The Double Motion of The Planets’ | 94 | ||
| Shakespeare: Too Long for A Play | 98 | ||
| Dislocations in Dreamtime | 105 | ||
| Wilder: Stygian Perspectives on The Passing World | 107 | ||
| Priestley: Hinges in Time | 115 | ||
| Wesker: Disillusion and Dynamism | 121 | ||
| Comical-Historical-Tragical | 128 | ||
| Interlude 1: ‘Why Don’t You All Just F-F-Fade Away’?: Further Thoughts on Staging Ageing | 139 | ||
| Chapter 4: Principles of Uncertainty | 145 | ||
| Beckett: Marking Time/Shoring Up The Debris | 148 | ||
| Pinter: in Search of Lost Time | 156 | ||
| Barker: ‘The Sheer Suspension of Not Knowing’ | 165 | ||
| Complicating Shadows | 176 | ||
| Ed Thomas: Memory, Desire and The Parts You Throw Away | 180 | ||
| Butterworth: Time Past and Time Present | 183 | ||
| Breaking The Loop: Mcdowall’s Radical Uncertainty | 185 | ||
| Interlude 2: The Clock in The Forest: Jerusalem Unenclosed: A Case History | 191 | ||
| Chapter 5: Time Out of Joint | 197 | ||
| Timebends and Countermyths | 200 | ||
| Bond: Time as Blood Money | 204 | ||
| Neilson’s The Wonderful World of Dissocia: ‘Inside-Between The Carvings of The Clock’ | 209 | ||
| Once Upon A Time: Churchill’s Traumatic Dystopias | 212 | ||
| The Time that Does Not Heal | 214 | ||
| Rudkin: The Once and Future | 220 | ||
| Rifkin: Searching for the New ‘Time Rebels’ | 228 | ||
| Reverse Engineering: The Radicalization of Bradley Manning | 230 | ||
| Inconclusion: Repent, Harlequin … | 239 | ||
| Stolen Moments | 241 | ||
| Envoi: Give Me Just a Little More Time | 245 | ||
| References | 247 | ||
| Index | 257 |