Trauma-Tragedy - by Patrick Duggan (Paperback)
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<p/><br></br><p><b> About the Book </b></p></br></br>The book advances a new performance theory or mode, 'trauma-tragedy', that suggests much contemporary performance can generate the sensation of being present in trauma through its structural embodiment in performance, or 'presence-in-trauma effects'.<p/><br></br><p><b> Book Synopsis </b></p></br></br>Trauma-Tragedy investigates the extent to which performance can represent the "'unrepresentable" of trauma. Throughout, there is a focus on how such representations might be achieved and if they could help us to understand trauma on personal and social levels. In a world increasingly preoccupied with and exposed to traumas - social, personal, political, violent, psychological, fictional, local, global - this volume considers what performance offers as a means of commentary that other cultural products do not. <p/>The book's clear and coherent navigation of the key theories within performance studies and its analysis of key practitioners and performances (from Sarah Kane to Socìetas Raffaello Sanzio, Harold Pinter to Forced Entertainment, and Phillip Pullman to Franco B) make it accessible and useful to students of performance and trauma studies at all levels. Yet its rigorous and incisive interrogation of the complex relationship between performance, spectatorship and trauma make it of particular interest and usefulness to scholars and specialists.Duggan explores ideas around the phenomenological and socio-political efficacy and impact of performance in relation to trauma. Addressing questions of witnessing, presence, ethics and kinaesthetics, Trauma-Tragedy employs trauma and performance theories as the central theoretical frames but draws also on sociology, postmodernism and metaphysics in analyzing a range of contemporary performances as well as social and "everyday" events that might legitimately be modeled as performative. <p/>Ultimately, the book advances a new performance theory or mode, 'trauma-tragedy', that suggests much contemporary performance, from live art through the so-called 'in-yer-face' theatre of the 1990s to popular theatre, can generate the sensation of being present in trauma through its structural embodiment in performance, or 'presence-in-trauma effects'. This book is aimed at scholars and students of Theatre, Drama and Performance, Trauma Studies, Cultural Studies, Sociology, Media and Communication and those concerned with questions of trauma, politics, ethics, and aesthetics in other disciplines.<p/><br></br><p><b> From the Back Cover </b></p></br></br>Trauma-tragedy investigates the extent to which performance can represent the 'unrepresentable' of trauma. Throughout, there is a focus on how such representations might be achieved and if they could help us to understand trauma on personal and social levels. In a world increasingly preoccupied with and exposed to traumas - social, personal, political, violent, psychological, fictional, local, global - this volume considers what performance offers as a means of commentary that other cultural products do not. The book's clear and coherent navigation of the key theories within performance studies and its analysis of key practitioners and performances (from Sarah Kane to Socìetas Raffaello Sanzio, Harold Pinter to Forced Entertainment, and Phillip Pullman to Franco B) make it accessible and useful to students of performance and trauma studies at all levels. Yet its rigorous and incisive interrogation of the complex relationship between performance, spectatorship and trauma make it of particular interest and usefulness to scholars and specialists.Duggan explores ideas around the phenomenological and socio-political efficacy and impact of performance in relation to trauma. Addressing questions of witnessing, presence, ethics and kinaesthetics, Trauma-Tragedy employs trauma and performance theories as the central theoretical frames but draws also on sociology, postmodernism and metaphysics in analyzing a range of contemporary performances as well as social and 'everyday' events that might legitimately be modeled as performative. Ultimately, the book advances a new performance theory or mode, 'trauma-tragedy', that suggests much contemporary performance, from live art through the so-called 'in-yer-face' theatre of the 1990s to popular theatre, can generate the sensation of being present in trauma through its structural embodiment in performance, or 'presence-in-trauma effects'. This book is aimed at scholars and students of Theatre, Drama and Performance, Trauma Studies, Cultural Studies, Sociology, Media and Communication and those concerned with questions of trauma, politics, ethics, and aesthetics in other disciplines.<p/><br></br><p><b> Review Quotes </b></p></br></br><br>His [Duggan] monograph is inspiring, incisive and illustrative of the multiplicities of modes and forms that theatrical and performative engagements with trauma may assume. Last but not least, given that the topic is difficult and even painful to confront with directly, Duggan's book is enjoyable and achieves a certain balance in this troubled territory., Pavel Drábek, Routledge, Research in Drama Education: The Journal of Applied Theatre and Performance, 19 November 2013Patrick Duggan's Trauma-tragedy: Symptoms of contemporary performance is an insightful and timely intervention in the study of late twentieth-century drama and performance., Kevin Wallace, De Gruyter, Book Reviews, 2014[...] Trauma-tragedy offers an inspiring new insight into the possibilities of theatre in negotiating different kinds of trauma. The book is surely alluring for scholars of Theatre Studies, Trauma and Memory Studies, and practitioners alike., Lisa Skwirblies, Studies in Theatre and Performance, Book Reviews, 2014<br><p/><br></br><p><b> About the Author </b></p></br></br><br>Patrick Duggan is Senior Lecturer in Theatre and Performance at the University of Surrey<br>
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