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Full Description
Robert Lepage and Ex Machina's theatricality is inter-disciplinary and inter-cultural, and, inevitably, characterised by intense hybridity. These complex features - while the source of an internationally celebrated theatrical innovation, and considerable pleasure for audiences - have nevertheless also prompted notable criticism. Robert Lepage / Ex Machina: Revolutions in Theatrical Space reads against the grain of criticism, providing readers with a fresh, practice-based and critical perspective by arguing that these innovative aesthetic practices operate simultaneously as positive cultural principles. Drawing directly on case studies of process and a wide range of productions, and building from in-depth interviews, this book intertwines theoretical and practical concerns, weighing them in balance, and, in doing so, produces for the reader a new critical perspective on Robert Lepage and Ex Machina.
Through the course of his analysis, James Reynolds illustrates that underpinning the inter-disciplinary eclecticism of Ex Machina's practice is a profound engagement with social, cultural and political difference. Running through the work is a drive to create performances built around a principle of contradiction, through which audiences can apprehend difference in its myriad, infinite forms. Consequently, Robert Lepage / Ex Machina explores this embracing of difference in all its depth and complexity, opening a key way for readers to develop both their practical and theoretical appreciation of this practice. At the same time, the discourse around this vital, forward-looking practice is rebooted, not only by re-thinking its contribution to the vocabulary of drama and theatre, but also through revealing and assessing the critical discourse it initiates through performance.
Contents
List of Illustrations
Acknowledgements
Introduction: Robert Lepage and Ex Machina
Chapter 1: Lepagean Hybridity in Context: A Touch of Zen
Chapter 2: (Molotov) Cocktail Theatre?
Chapter 3: Politaesthetic Practice
Chapter 4: Adding to the Infinite: a Vocabulary of Performance
Chapter 5: Opening Lines...
Conclusion: Historical Futures?
Endnotes
Bibliography
Index
