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Shattering Hamlet's Mirror: Theatre and Reality

Shattering Hamlet's Mirror: Theatre and Reality notion of authorship and, by turning the body into an archive, revitalize the singularity of works they return. The latter is an intricate meditation on the dialogue between Walter Benjamin’s “Theses on the Philosophy of History” and Ralph Lemon’s collaboration with Walter Carter for performance film 1856 Cessna Road. Here we read of how an encounter between two African American men across generations intensifies into a precarious dance—a dance which is, at the same time, a relic from Carter’s centennial life and an apocalyptic feedback between past and future of the American South. While it remains to be seen whether the singularities Lepecki describes can converse with other performances, especially in non-Western contexts, he establishes a distinctive poetic register and theoretical premise for producing politics through dance today. EYLÜL FIDAN AKINCI is a doctoral student in theatre at The Graduate Center, CUNY. Her research interests include dramaturgy, contemporary dance, physical theatre, object performance, new materialism, transfeminism, and necropolitics. Review by Sarah Lucie BOOK REVIEWED: Marvin Carlson, Shattering Hamlet’s Mirror: Theatre and Reality. Ann Arbor, MI: University of Michigan Press, 2016. n recent years, the relationship between theatre and reality has most often sparked conversations regarding postmodern performance or http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png PAJ: A Journal of Performance and Art MIT Press

Shattering Hamlet's Mirror: Theatre and Reality

PAJ: A Journal of Performance and Art , Volume 39 (2) – May 1, 2017

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Publisher
MIT Press
Copyright
© 2017 Performing Arts Journal, Inc.
ISSN
1520-281X
eISSN
1537-9477
DOI
10.1162/PAJJ_r_00372
Publisher site
See Article on Publisher Site

Abstract

notion of authorship and, by turning the body into an archive, revitalize the singularity of works they return. The latter is an intricate meditation on the dialogue between Walter Benjamin’s “Theses on the Philosophy of History” and Ralph Lemon’s collaboration with Walter Carter for performance film 1856 Cessna Road. Here we read of how an encounter between two African American men across generations intensifies into a precarious dance—a dance which is, at the same time, a relic from Carter’s centennial life and an apocalyptic feedback between past and future of the American South. While it remains to be seen whether the singularities Lepecki describes can converse with other performances, especially in non-Western contexts, he establishes a distinctive poetic register and theoretical premise for producing politics through dance today. EYLÜL FIDAN AKINCI is a doctoral student in theatre at The Graduate Center, CUNY. Her research interests include dramaturgy, contemporary dance, physical theatre, object performance, new materialism, transfeminism, and necropolitics. Review by Sarah Lucie BOOK REVIEWED: Marvin Carlson, Shattering Hamlet’s Mirror: Theatre and Reality. Ann Arbor, MI: University of Michigan Press, 2016. n recent years, the relationship between theatre and reality has most often sparked conversations regarding postmodern performance or

Journal

PAJ: A Journal of Performance and ArtMIT Press

Published: May 1, 2017

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