"Noi": siamo qui insieme, non siamo la stessa cosa

Nel mezzo della pandemia, l'articolo di Rosi Braidotti fissa riflessioni e nuovi punti di partenza per l'umanità che stiamo diventando

Attivarsi aspettando che la tempesta passi

Leonardo Caffo in conversazione con Rosi Braidott

The Posthumanities in an era of Unexpected Consequences Editorial for the special issue on the Transversal Posthumanities

The posthumanities constitute an affirmative, expanded development of the traditional humanities embedded within the posthuman convergence. Numerous changes impel recognition of wider forms and constituents of conditions no longer nameable simply as human; also implying mature relations to technology and science. The posthuman condition -- in fields as diverse as military strategy, health, education and machine learning -- brings entities and processes into transversal relation in ways that are normatively neutral but loaded with implications. Working in this condition is a task of the posthumanities. Being transversal implies risk. One such risk is the unexpected consequence. The article builds on Jevons, Merton, Guattari and Braidotti, to examine how transversality maps unexpected consequences, (such as pollution). Transversality is also a pragmatic method to render problems multi-dimensional: expressing active forces and capacities under the radar of established forms of articulation. Short summaries of articles by contributing authors complete this introduction

Katie Mitchell: feminist director as pedagogue

An Actor Prepares relates the reciprocal dialogue between teacher–director and actor to offer a pedagogical enquiry that moves beyond methodology to focus on the learning exchange. In the first decades of the twentieth century teacher–directors, predominantly male, were responsible for developing theatrical pedagogies. In the twenty-first century, it is rare to focus on the director as pedagogue or attend to the complex learning exchange between director and actor. Furthermore, curriculums continue to be dominated by predominantly male lineages. Yet a focus on pedagogical approaches allows us to look behind methodologies, what an actor does, to consider how an actor learns. What might a gendered consideration of rehearsal practices reveal about the particular features of acting pedagogy? How do feminist interventions reconsider aspects of Stanislavski’s approach? I turn to the developed pedagogy of Katie Mitchell to examine her work as a form of écriture féminine which creates a post-Stanislavski schooling for actors. Applying a methodology for observing pedagogic practice in the rehearsal room that has been developed over four years of research I consider her approach, drawing upon two extended interviews, observations across four rehearsal processes and interviews with the actors involved. I reflect on her process through a gendered lens as an evolved form of method of physical action, which I re-orientate as a method of feminist action. The particular features of this pedagogy map Mitchell’s contribution to developing twenty-first century actor training from a feminist position

‘A Chain of Creation, Continuation, Continuity’ : Feminist dramaturgy and the matter of the sea

This article considers what remnants of the imaginary link established between the maternal and the sea might still be useful in feminist performance practice and theory. It does so by discussing a practice-as-research experiment that adapted strategies from Hélène Cixous’s écriture féminine–which performs a liquification of ordering structures in prose writing–into a dramaturgical form based on the logic of waves. The article goes on to suggest that such a dramaturgy recasts creation as a fluid state of becoming ex tempore, resisting the masculine-connoted vision of creation as an act of the singular genius ex nihilo. It further argues that drawing on a non-human phenomenon, the sea, to describe and theorise a type of dramaturgical composition might be read as a twofold attempt on the hegemony of patriarchal culture: through its associative link with the maternal body the creative potential of the feminine is revalued while at the same time the generative capacity of the non-human is recognised via Gaston Bachelard’s notion of the material imagination. The article concludes by proposing that the sea, together with its analogic association to the maternal, can be instated as a figure that gives temporary shape to an alternative vision of cultural production