I am a Lecturer of Sociology at Goldsmiths, University of London. My research focuses on the politics of representation and the radicalisation of critique in postdramatic performance practices and public spaces, exploring critical dialogues between social theory, political theatre and performance studies. I have published in Studies in Theatre and Performance and openDemocracy. I have also worked as a community theatre artist/facilitator in Greece and the UK (using Augusto Boal's theatrical methods), as a music practitioner in Greece, and since 2014 I am an International Associate Researcher in GETS - Grupo de Estudos em Estética, Técnica e Sociedade (Research Group in Aesthetics, Technics and Society), Federal University of Paraíba, Brazil. Phone: 07792286243 Address: 66 Tollington Park London N4 3RA United Kingdom
Liminalities: A Journal of Performance Studies , 2018
The primary concern of this essay is to trace the conditions of possibility for what we came to u... more The primary concern of this essay is to trace the conditions of possibility for what we came to understand as non-representational approaches to performance. In particular, in its first part, the essay considers the emergence of the " non-repre-sentational " as belonging to the creative radicalism that conditioned and initiated the " turn to performance " in the late 1960s and 1970s. The second part goes on to explore a philosophico-theatrical " dialogue " between Jacques Derrida and Anto-nin Artaud. Written from within a critical framework that breaks with represen-tational theatre podiums, Derrida's (2001 [1978]) account of Artaud's " theatre of cruelty " still functions as a valuable theoretical instance that suggests a direct, non-deviated relationship between theatre and theory, while paving the way for rethinking a metaphysics of presence in performance practice.
This article elaborates on the immersive theatre of the London-based collective Punchdrunk. Drawi... more This article elaborates on the immersive theatre of the London-based collective Punchdrunk. Drawing on the author’s empirical work with the group, it considers the spatial conditions and the masked audience experience in Punchdrunk’s works as constitutive of a performance practice that challenges conventional modes of theatrical representation. In doing so, the article provides a new reading of the group’s promenade performances, articulating critical responses to the limits of interactive theatre while underlining the nomadic and voyeuristic possibilities of Punchdrunk’s immersive spectating. Following a Deleuzian line of thought, it aims to expand our understanding of immersive theatre, suggesting a rethinking of the engaging potential that fragmentary and incomplete experiences create in performances.
Liminalities: A Journal of Performance Studies , 2018
The primary concern of this essay is to trace the conditions of possibility for what we came to u... more The primary concern of this essay is to trace the conditions of possibility for what we came to understand as non-representational approaches to performance. In particular, in its first part, the essay considers the emergence of the " non-repre-sentational " as belonging to the creative radicalism that conditioned and initiated the " turn to performance " in the late 1960s and 1970s. The second part goes on to explore a philosophico-theatrical " dialogue " between Jacques Derrida and Anto-nin Artaud. Written from within a critical framework that breaks with represen-tational theatre podiums, Derrida's (2001 [1978]) account of Artaud's " theatre of cruelty " still functions as a valuable theoretical instance that suggests a direct, non-deviated relationship between theatre and theory, while paving the way for rethinking a metaphysics of presence in performance practice.
This article elaborates on the immersive theatre of the London-based collective Punchdrunk. Drawi... more This article elaborates on the immersive theatre of the London-based collective Punchdrunk. Drawing on the author’s empirical work with the group, it considers the spatial conditions and the masked audience experience in Punchdrunk’s works as constitutive of a performance practice that challenges conventional modes of theatrical representation. In doing so, the article provides a new reading of the group’s promenade performances, articulating critical responses to the limits of interactive theatre while underlining the nomadic and voyeuristic possibilities of Punchdrunk’s immersive spectating. Following a Deleuzian line of thought, it aims to expand our understanding of immersive theatre, suggesting a rethinking of the engaging potential that fragmentary and incomplete experiences create in performances.
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