By Lara Stevens
Examining the ways that modern Western theatre protests opposed to the ‘War on Terror’, this e-book analyses six twenty-first century performs that reply to the post-9/11 army operations in Afghanistan, Iraq and Palestine. The performs are written through probably the most major writers of this century and the final together with Elfriede Jelinek, Caryl Churchill, Hélène Cixous and Tony Kushner.
Anti-war Theatre After Brecht grapples with the matter of ways to make theatre that protests the guidelines of democratically elected Western governments in a post-Marxist period. It indicates how the web has turn into a key device for disseminating anti-war play texts and the way on-line social media boards are altering conventional dramatic aesthetics and broadening possibilities for spectator entry, engagement and interplay with a piece and the political choices it places ahead.
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Additional resources for Anti-War Theatre After Brecht: Dialectical Aesthetics in the Twenty-First Century
While capitalist ideology attempts to hide these contradictions, dialectics, which by definition characterizes the world in contradictions, expose the ways in which such antinomies are concealed in everyday life under capitalism. For Marx, ‘The Roman slave was held by chains; the wage-labourer is bound to his owner by invisible threads’ (1990, 719). In order to reveal these ‘invisible threads’ or the imperceptible contradictions that exist within and between things, people and processes, Marx employs a dialectical methodology that compares existing economic relations to those in the past.
Their classification takes into account the reflexive problem of the dialectic as both theory and practice: methodology and sociological phenomenon. Jameson explains the circular logic of a dialectical view of reality when he writes: Perhaps, if Marxism is to be identified as a unity of theory and practice, the same needs to be said about the dialectic, namely, that it will always be its own illustration or example; that any exercise of it will already be its own presentation; that, as Sartre put it, you do not think dialectically without saying so and calling it that: all of which is to say that you have to be grappling with a dialectical reality already in order to be able to show what the dialectic is.
Marx uses these terms to explain how the structure of capitalism renders the worker dehumanized, reified and alienated from the world, their work and themselves. As Marx writes in the section on ‘Estranged Labour’ in the Economic and Philosophical Manuscripts (1844): the object that labour produces, its product, stands opposed to it as something alien, as a power independent of the producer. The product of labour is labour embodied and made material in an object, it is the objectification of labour.
Anti-War Theatre After Brecht: Dialectical Aesthetics in the Twenty-First Century by Lara Stevens