Backpages 33.3

Abstract

Backpages is an opportunity for the academy to engage with theatre and performance practice with immediacy and insight, and for theatre workers and performance artists to engage critically and reflectively on their work and the work of their peers.

Notes

1. Funded by the British Council, Climate Portals was a collaboration between the Royal Conservatoire of Scotland, Shared_Studios, HarrisonParrott and Scottish Ballet as part of the cultural programme in the build-up to the United Nations Climate Change Conference of the Parties (COP26), which was hosted in Glasgow from 31 October to 12 November.

2. Arundhati Roy, ‘The Pandemic is a Portal’, Financial Times, April 3, 2020, https://www.ft.com/content/10d8f5e8-74eb-11ea-95fe-fcd274e920ca (accessed September 10, 2022).

3. Ibid.

4. Adam Searle, Jonathon Turnbull, and Jamie Lorimer, ‘After the Anthropause: Lockdown lessons for more-thanhuman Geographies’, Geographical Journal 187, no. 1 (2021), https://www.researchgate.net/publication/348374765_After_the_anthropause_Lockdown_lessons_for_more-than-human_geographies (accessed May 12, 2022).

5. Laura Bissell et al., ‘Pandemic Performance Portals’, special issue of RiDE: Research in Drama Education, ‘Confronting the Climate Crisis: Responsibility, Agency, and Action’ (forthcoming)

6. Laura Bissell, David Overend, Matthew Whiteside, and Ciela Herce, Hope Street Walk (2021), https://soundcloud.com/holly-worton-484243974/hope-street-walk-glasgow/s-6Di5oyznIM7?si=d215534c4a1a489390b8e4cfb990f74c (accessed May 12, 2022).

7. Shared_Studios, ‘Story’, https://www.sharedstudios.com/story (accessed October 5, 2022).

8. Jenny Odell, How to do Nothing: Resisting the Attention Economy (New York: Melville House, 2019), 10.

9. Rutz, Christian et al., ‘COVID-19 lockdown allows researchers to quantify the effects of human activity on wildlife’ Nature Ecology & Evolution 4, (2020): 1156–1159. https://www.nature.com/articles/s41559-020-1237-z (accessed August 20, 2022).

10. Searle et al., ‘After the Anthropause’.

11. Shared_Studios, ‘Story’.

12. Bissell et al., ‘Hope Street Walk.’

13. Ibid.

14. Ibid.

15. Ibid.

16. Ibid.

17. Roy, ‘Pandemic is a Portal’.

18. Odell, How to do Nothing, 22.

19. Salome Voegelin, Listening to Noise and Silence: Toward a Philosophy of Sound Art (London: Bloomsbury, 2010), 3.

20. F. Scott Fitzgerald, The Great Gatsby (London: Penguin, 2005), 68.

21. wishitwasnt, comment on Reddit thread ‘Discussion to the ending of “The Spectacular Now” directed by James Ponsoldt’, January 4, 2014, https://www.reddit.com/r/TrueFilm/comments/1ubera/discussion_to_the_ending_of_the_spectacular_now/ (accessed 4 November, 2022).

22. @Lin_Manuel, Twitter, July 8, 2020, https://twitter.com/Lin_Manuel/status/1280905865369960448 (accessed 4 November, 2022).

23. Thomas Kail quoted in Ashley Lee, ‘Thomas Kail Explains How Eliza’s Gasp at the End of “Hamilton” Came to Be’, Los Angeles Times, July 11, 2020, https://www.latimes.com/entertainment-arts/movies/story/2020-07-11/hamilton-ending-explainedthomas-kail. (accessed 4 November, 2022).

24. Caroline McGinn, ‘“Cyrano de Bergerac” review’, Time Out, February 7, 2022, https://www.timeout.com/london/theatre/cyrano-de-bergerac-review. (accessed September 16, 2022).

25. Cyrano de Bergerac, written by Martin Crimp, freely adapted from the play by Edmund Rostand, Harold Pinter Theatre, London, February 13, 2022.

26. Ben Brantley, ‘Review: James McAvoy’s Rapping Cyrano Dazzles with Words’, New York Times, January 8, 2020, https://www.nytimes.com/2020/01/08/theater/cyrano-london-review.html. (accessed November 4, 2022).

27. Tony Kushner, Angels in America Part One: Millennium Approaches, directed by Marianne Elliott, National Theatre at Home, https://www.ntathome.com/angels-in-america-part-one-millenniumapproaches-audio-description/videos/angels-in-americapart-one-millennium-approaches-audio-description (accessed November 4, 2023).

28. James Nestor, Breath: The New Science of a Lost Art (London: Penguin Life, 2021), 188.

29. Ibid., xvii.

30. The Intergovernmental Panel on Climate Change (IPCC), ‘Climate Change Widespread, Rapid, and Intensifying’, IPCC, August 9, 2021, https://www.ipcc.ch/2021/08/09/ar6-wg1-20210809-pr/ (accessed 4 November, 2022).

31. Fitzgerald, The Great Gatsby, 110.

32. Hans-Thies Lehmann, Postdramatisches Theater (Frankfurt am Main: Verlag der Autoren, 1999). Published in English as Hans-Thies Lehmann, Postdramatic Theatre, trans. Karen Jürs-Munby (London: Routledge, 2006).

33. Peter Szondi, Theory of the Modern Drama, trans. Michael Hays (Cambridge: Polity Press, 1987).

34. Lehmann, Postdramatisches Theater, 44.

35. Ashis Sengupta, Postdramatic Theatre and India: Theatre-Making Since the 1990s (London: Bloomsbury Methuen Drama, 2022).

36. See Eiichirō Hirata and Hans-Thies Lehmann, eds., Theater in Japan (Berlin: Verl. Theater der Zeit, 2009).

37. Hans-Thies Lehmann, “Thalia Prize 2018 Acceptance Speech,” Critical Stages 18 (2018): https://www.critical-stages.org/18/thalia-prize-2018-acceptance-speech-by-professor-hans-thies-lehmann/.

38. Michael Shane Boyle, ‘In Service to Capital: Theater and Marxist Cultural Theory’, in After Marx: Literature, Theory and Value in the Twenty-First Century, ed. Christopher S. Nealon and Colleen Lye (Cambridge: Cambridge University Press, 2022), 209–24.

39. Lehmann, Postdramatic Theatre, 175.

40. Hans-Thies Lehmann, Das Politische Schreiben: Essays Zu Theatertexten Sophokles, Shakespeare, Kleist, Büchner, Jahnn, Bataille, Brecht, Benjamin, Müller, Schleef (Berlin: Theater der Zeit, 2012).

41. Genia Schulz, Heiner Müller (Stuttgart: J.B. Metzler, 1980), Hans-Thies Lehmann and Helmut Lethen, eds., Bertolt Brechts Hauspostille (Stuttgart: Metzler, 1978). See also Hans-Thies Lehmann, Brecht lesen, 123 (Berlin: Theater der Zeit, 2016); Hans-Thies Lehmann and Patrick Primavesi, eds., Heiner Müller Handbuch: Leben, Werk, Wirkung (Stuttgart: J.B. Metzler, 2003).

42. Hans-Thies Lehmann, Theater und Mythos: Die Konstitution Des Subjekts Im Diskurs Der Antiken Tragödie (Stuttgart: J.B. Metzler, 1991); Hans-Thies Lehmann, Tragödie und Dramatisches Theater (Berlin: Alexander Verlag, 2013). The latter was published in English as Hans-Thies Lehmann, Tragedy and Dramatic Theatre, trans. Erik Butler (London: Routledge, 2016).