The experience of immediacy: emotion and enlistment in fact-based theatre

This article discusses emotion as a strategy of political agency in post-Thatcherite documentary theatre. The 1990s saw a renaissance in theatre writing based in directness and immediacy but based in two quite different forms of drama, In-Yer-Face theatre and fact-based drama. There are clear distinctions between these forms: the new brutalist writing was aggressively provocative; documentary theatre engaged the audience by revealing an urgent truth. Both claimed a kind of realism that confronted actuality, be that of situation or experience, through forms of theatre that cultivated emotional engagement. In-Yer-Face theatre used emotional shock to penetrate the numb cynicism that its creators perceived. Documentary theatre used observation and the cultivation of sympathy to enlist its audience in a shared understanding of what was hidden, not understood or not noticed. The article analyses the functioning of emotional enlistment to engage the audience politically in two examples of documentary theatre, Black Watch and Guantanam

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This article discusses approaches to the interpretation and analysis an event that is poised between reality and performance. It focuses upon a real event witnessed by the author while driving out of Los Angeles, USA. A body hanging on a rope from a bridge some 25/30 feet above the freeway held up the traffic. The status of the body was unclear. Was it the corpse of a dead human being or a stuffed dummy, a simulation of a death? Was it is tragic accident or suicide or was it a stunt, a protest or a performance? Whether a real body or not, it was an event: it drew an audience, it took place in a defined public space bound by time and it disrupted everyday normality and the familiar. The article debates how approaches to performance can engage with a shocking event, such as the Hanging Man, and the frameworks of interpretation that can be brought to bear on it. The analysis takes account of the function of memory in reconstructing the event, and the paradigms of cultural knowledge that offered themselves as parallels, comparators or distinctions against which the experience could be measured, such as the incidents of self-immolation related to demonstrations against the Vietnam War, the protest by the Irish Hunger Strikers and the visual impact of Anthony Gormley’s 2007 work, 'Event Horizon'. Theoretical frameworks deriving from analytical approaches to performance, media representation and ethical dilemmas are evaluated as means to assimilate an indeterminate and challenging event, and the notion of what an ‘event’ may be is itself addressed

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In this paper, we continue the study on toroidal vertex algebras initiated in \cite{LTW}, to study concrete toroidal vertex algebras associated to toroidal Lie algebra $L_{r}(\hat{\frak{g}})=\hat{\frak{g}}\otimes L_r$, where $\hat{\frak{g}}$ is an untwisted affine Lie algebra and $L_r=$\mathbb{C}[t_{1}^{\pm 1},\ldots,t_{r}^{\pm 1}]$. We first construct an$(r+1)$-toroidal vertex algebra$V(T,0)$and show that the category of restricted$L_{r}(\hat{\frak{g}})$-modules is canonically isomorphic to that of$V(T,0)$-modules.Let$c$denote the standard central element of$\hat{\frak{g}}$and set$S_c=U(L_r(\mathbb{C}c))$. We furthermore study a distinguished subalgebra of$V(T,0)$, denoted by$V(S_c,0)$. We show that (graded) simple quotient toroidal vertex algebras of$V(S_c,0)$are parametrized by a$\mathbb{Z}^r$-graded ring homomorphism$\psi:S_c\rightarrow L_r$such that Im$\psi$is a$\mathbb{Z}^r$-graded simple$S_c$-module. Denote by$L(\psi,0}$the simple$(r+1)$-toroidal vertex algebra of$V(S_c,0)$associated to$\psi$. We determine for which$\psi$,$L(\psi,0)$is an integrable$L_{r}(\hat{\frak{g}})$-module and we then classify irreducible$L(\psi,0)$-modules for such a$\psi$. For our need, we also obtain various general results.Comment: 50 page

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