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In Words and Deeds

The Spectacle of Incest in English Renaissance Tragedy

Series:

Zenón Luis-Martínez

Departing from earlier studies which regarded incest as a literary topos or dramatic metaphor foregrounding political, social, or legal issues, Words and Deeds: The Spectacle of Incest in English Renaissance Tragedy argues that the presence of incest on the Renaissance stage is a strategy for the enactment of the spectator’s tragic experience. Incest is explored neither as a sin nor as a crime, but as an “unspeakable” experience filtered through dramatic words and deeds. The incitement of desire, visual pleasure, and unconscious fantasy, as well as traumatic rejection, pain, and horror, are all aspects of this paradoxical and uncanny experience. Aristotelian theory of tragedy, Freudian and Lacanian psychoanalysis, and Michel Foucault’s notions of the deployment of sexuality and alliance, concur in the analysis of plays where incest is a central or a secondary motif – Ford’s ’Tis Pity She’s a Whore, Beaumont and Fletcher’s Cupid’s Revenge, Webster’s The Duchess of Malfi – and others where incest is an effect of language and mise-en-scène – Sackville and Norton’s Gorboduc, Shakespeare’s King Lear. The variety of topics and the combination of critical perspectives makes In Words and Deeds an attractive book for students and teachers of Renaissance drama, as well as for those with a special interest in psychoanalytic and other new theoretical approaches to the literary text.

Body Show/s

Australian viewings of live performance

Series:

Edited by Peta Tait

Body Show/s: Australian Viewings of Live Performance asks: in what ways do physical bodies in live performance present vital and compelling expressions of ideas?
This collection contains critical analyses of cultural spectacle and social identity by eighteen major Australian scholars and practitioners. It discusses and describes bodies in contemporary performance, theatre, visual art and dance; in circus and ethnographic shows; in performance training, butoh and wrestling; at gay and lesbian dance parties; and in relation to digital images. It explores historical and theoretical issues of gender and postcoloniality, technology, and the location of bodies in architectural, social and virtual spaces.
Artistes and groups discussed include Sydney Front, Open City, The Performance Space, Meryl Tankard’s Australian Dance Theatre, Chrissie Parrott, the Bell Shakespeare Company, Tess De Quincey, Yumi Umiumare, Gilgul Theatre, Lyndal Jones, Stelarc, Death Defying Theatre, colonial circus, ethnographic displays, the horse as performer, and wrestling legends Gorgeous George and Ravishing Ricky Rude.