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THE BODY IN PIECES Contemporary Anatomy Theatres Amy Strahler Holzapfel I n spite of its obvious focus on the body in performance, the form of the medical anatomy theatre has not been a topic of great interest to scholars in the humanities, until recently. New approaches, such as Hillary Nunnâs Staging Anatomies: Dissection and Spectacle in Early Stuart Tragedy and Stephanie Moss and Kaara Petersonâs Disease, Diagnosis, and Cure on the Early Modern Stage signal increasing focus on both cultural and formal manifestations of the Renaissance anatomy theatre, on the heels of the notable rise in the sub-discipline of body criticism. While such examples point to new understandings about the anatomy theatre in early modern history, they do not address what happens to the form following the Enlightenment. The spectacle of the public autopsy was banned as a practice in nearly every European country by the early twentieth century, making its existence more difficult to explore in the context of modernism. Does it disappear? Go underground? Does it simply retreat back into the lecture halls of medical academies? Or is it resurrected now and again, brought back from the grave throughout the trajectory of modern and postmodern performance?
PAJ: A Journal of Performance and Art – MIT Press
Published: May 1, 2008
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