Performing Democracy

Mark Robson (Lead / Corresponding author)

Research output: Contribution to journalArticle

79 Downloads (Pure)

Abstract

The debate about the relationship between theatre and democracy rests on a presumption that both the artform and the political form share an inter- twined history, based in their co-appearance in Greece. Equally well-known is the antagonism towards both theatre and democracy that emerges at the same moment, most clearly found in Plato. This essay revisits this history in order to set up an examination of two contemporary theatre performances that explicitly raise the relationship of democracy and theatre, the British company Punchdrunk’s The Drowned Man and the Belgian company Ontroerend Goed’s Fight Night. Both, in very different ways, approach democracy through a focus on audience experi- ence. How, then, might these productions be read in terms of a democracy-to- come and a theatre-to-come?
Original languageEnglish
Pages (from-to)154-170
Number of pages17
JournalAnglia: Journal of English Philology
Volume136
Issue number1
DOIs
Publication statusPublished - 10 Mar 2018

Fingerprint

theater
democracy
antagonism
Plato
Belgian
history
Greece
Democracy
examination
performance
experience
History

Keywords

  • theatre
  • democracy
  • philosophy

Cite this

Robson, Mark. / Performing Democracy. In: Anglia: Journal of English Philology. 2018 ; Vol. 136, No. 1. pp. 154-170.
@article{6747565289084cb8af6ab4b0dd2ed877,
title = "Performing Democracy",
abstract = "The debate about the relationship between theatre and democracy rests on a presumption that both the artform and the political form share an inter- twined history, based in their co-appearance in Greece. Equally well-known is the antagonism towards both theatre and democracy that emerges at the same moment, most clearly found in Plato. This essay revisits this history in order to set up an examination of two contemporary theatre performances that explicitly raise the relationship of democracy and theatre, the British company Punchdrunk’s The Drowned Man and the Belgian company Ontroerend Goed’s Fight Night. Both, in very different ways, approach democracy through a focus on audience experi- ence. How, then, might these productions be read in terms of a democracy-to- come and a theatre-to-come?",
keywords = "theatre, democracy, philosophy",
author = "Mark Robson",
year = "2018",
month = "3",
day = "10",
doi = "10.1515/ang-2018-0014",
language = "English",
volume = "136",
pages = "154--170",
journal = "Anglia: Journal of English Philology",
issn = "0340-5222",
publisher = "Walter de Gruyter GmbH",
number = "1",

}

Performing Democracy. / Robson, Mark (Lead / Corresponding author).

In: Anglia: Journal of English Philology, Vol. 136, No. 1, 10.03.2018, p. 154-170.

Research output: Contribution to journalArticle

TY - JOUR

T1 - Performing Democracy

AU - Robson, Mark

PY - 2018/3/10

Y1 - 2018/3/10

N2 - The debate about the relationship between theatre and democracy rests on a presumption that both the artform and the political form share an inter- twined history, based in their co-appearance in Greece. Equally well-known is the antagonism towards both theatre and democracy that emerges at the same moment, most clearly found in Plato. This essay revisits this history in order to set up an examination of two contemporary theatre performances that explicitly raise the relationship of democracy and theatre, the British company Punchdrunk’s The Drowned Man and the Belgian company Ontroerend Goed’s Fight Night. Both, in very different ways, approach democracy through a focus on audience experi- ence. How, then, might these productions be read in terms of a democracy-to- come and a theatre-to-come?

AB - The debate about the relationship between theatre and democracy rests on a presumption that both the artform and the political form share an inter- twined history, based in their co-appearance in Greece. Equally well-known is the antagonism towards both theatre and democracy that emerges at the same moment, most clearly found in Plato. This essay revisits this history in order to set up an examination of two contemporary theatre performances that explicitly raise the relationship of democracy and theatre, the British company Punchdrunk’s The Drowned Man and the Belgian company Ontroerend Goed’s Fight Night. Both, in very different ways, approach democracy through a focus on audience experi- ence. How, then, might these productions be read in terms of a democracy-to- come and a theatre-to-come?

KW - theatre

KW - democracy

KW - philosophy

UR - http://www.scopus.com/inward/record.url?scp=85044247302&partnerID=8YFLogxK

U2 - 10.1515/ang-2018-0014

DO - 10.1515/ang-2018-0014

M3 - Article

VL - 136

SP - 154

EP - 170

JO - Anglia: Journal of English Philology

JF - Anglia: Journal of English Philology

SN - 0340-5222

IS - 1

ER -