Barrie Kosky on the Contemporary Australian Stage : Affect, Post-Tragedy, Emergency book cover
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Barrie Kosky on the Contemporary Australian Stage
Affect, Post-Tragedy, Emergency



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ISBN 9780367407841
September 17, 2021 Forthcoming by Routledge
168 Pages 10 B/W Illustrations

 
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Book Description

This book examines select Australian theatre productions by director, Barrie Kosky.

Barrie Kosky on the Contemporary Australian Stage contextualizes the director’s early theatrical practice within its Australian theatre milieu. The book provides in-depth engagements with select productions including The Dybbuk which Kosky directed with Gilgul theatre company in 1991; as well as King Lear (1998), The Lost Echo (2006), and Women of Troy (2008). Using affect theory as a prism through which analyse these works, the book accounts for the director’s particular engagement with - and radical departure from - classical tragedy in contemporary performance.

Theatre studies scholars and students, particularly those with interests in affect, contemporary performance, ‘director’s theatre’, and tragedy will benefit from Barrie Kosky on the Contemporary Australian Stage’s vivid engagement with Kosky’s work; a director who has become a singular figure in opera and theatre of international critical acclaim.

Table of Contents

Acknowledgements

List of Figures

Introduction Where the Imagination Can Run Riot: Introducing Barrie Kosky, Affect, and Post-Tragedy

Chapter 1 Contextualizing Barrie Kosky in Contemporary Australian Theatre

Chapter 2 "Exciting and Raw, Sweaty and Nightmarish": Affect and The Real in The Dybbuk

Chapter 3 Barrie Kosky’s King Lear: A Post-Tragedy

Chapter 4 The Lost Echo: Rethinking (Post-)Tragic Catharsis as Emergency

Chapter 5 Women of Troy: Post-Tragic Spectatorship, Allegory, and Violence

Conclusion The Affective Politics of Barrie Kosky’s Post-Tragedies

Index

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Author(s)

Biography

Charlotte Farrell holds a Ph.D. in Theatre and Performance Studies from the University of New South Wales, Sydney. She has taught at both UNSW and in the Dramatic Literature program at New York University.