Pitch and Revelation

Pitch and Revelation is the first book-length study of the poetry, prose, and dramatic literature of the African American poet Jay Wright (1934–). The authors premise their reading on joy as foundational philosophical concept. In this, they follow Spinoza, who understood joy as that affect necessary for the construction of intellectual love of God, leading into the infinite univocity of everything. Similarly, with Wright, joy leads to a visceral sense of what the authors call the great weave of the world. This weave is akin to the notion of entanglement made popular by physicists and contemporary scholars of Science Studies, such as Karen Barad, which speaks of the always ongoing, mutually constitutive connections of all matter and intellectual processes. By exhibiting and detailing the joy of reading Wright, Pitch and Revelation intends to help others chart their own paths into the intellectual, musical, and rhythmical territories of Wright’s world so as to more fully experience joy in the world generally. Although the exhibitions of meaning making presented are instructive, but they do not follow the “do as I do” or “do as I say” model of instructional texts. Instead,they invite the reader to “do along with us” as the authors make meaning from selections across Wright’s erudite, dense, rhythmically fascinating, endlessly lyrical, highly structured, and seemingly hermetic body of work

Somewhere between remembering and forgetting: Working across generations on The Middle

Inspired by Hamlet, The Middle (2013) is a one-man show devised for a theatre foyer - a liminal space between the outside and the inside, the real world and the theatre. Hamlet is a character caught in a limbo between ?To be or not to be? and by casting my father, Tony Pinchbeck, to play the title role, I sought to explore time passing, staging ageing and the relationship between father and son. My father studied Hamlet when he was at school so he is stuck in the middle between the fading memory of reading that play 50 years ago and reading it now. He is trying to remember what it was like to be Hamlet while I continue my struggle to stay in the wings. For this article, I reflect on the complex dramaturgical process of working with my father to revisit his performative memories. The dramaturg?s job is to look for and after something that is not yet found. As Williams tells Turner and Behrndt, ?you don?t really know what is being sought?.1 As such, the dramaturg is in a limbo, or in the middle, between finding and looking, knowing and not knowing. For The Middle (2013), I spent time playing with the material I wanted to use physically: a table, a chair, 40 metres of bubble wrap. I found I could create interesting images with this material that could speak about the themes of liminality, ageing, stasis and mortality and the archiving of memory. The older we get, and the longer the show toured, between 2013 and 2016, the more the notion of father and son resonated. A retired solicitor, my father is 75 this year, and as he grew older and the show toured for three years, his memory of playing Hamlet faded so the text he spoke was always further from events it described. As Matthew Goulish writes, ?Some words speak of events, other words, events make us speak?. These were the words my Dad?s memories made us speak. For this article, I reflect on concepts of memory, time passing and ageing with Professor Mick Mangan, who explores these themes in his publication Staging Ageing (2013). The article weaves together my dramaturgical experience of making the performance with my father, and Mick?s experience of watching it through the lens of his research, and touches upon recent casting choices in order to explore issues of age and ageing and reminiscence theatre

A dialogue on becoming

Theatre, fundamentally, makes things appear. Philosophy, fundamentally, makes things appear. Philosophy is at work in all disciplines. The issue is less about bringing them together but rather articulating the fact that they, like science and art, have never been truly apart. Theatre has been gradually increasing its theoretical articulation over decades, fascinated by the possibility of transforming thought into spectacle. The essays collected in this volume address these issues from wide-ranging perspectives and approaches. They arise from meetings of the Theatre, Performance and Philosophy working group at the 2005 and 2006 conferences of TaPRA (Theatre and Performance Research Association), and from papers presented under the auspices of CTPP (Centre for Theatre, Performance and Philosophy) at Aberystwyth Universit

Sub specie durationis

This collaborative text explore the relationship between space and time through the lens of Deleuzo-Bergsonian thought and with reference to the work of the performance company, Goat Islan

Pitch and Revelation

Pitch and Revelation is the first book-length study of the poetry, prose, and dramatic literature of the African American poet Jay Wright (1934–). The authors premise their reading on joy as foundational philosophical concept. In this, they follow Spinoza, who understood joy as that affect necessary for the construction of intellectual love of God, leading into the infinite univocity of everything. Similarly, with Wright, joy leads to a visceral sense of what the authors call the great weave of the world. This weave is akin to the notion of entanglement made popular by physicists and contemporary scholars of Science Studies, such as Karen Barad, which speaks of the always ongoing, mutually constitutive connections of all matter and intellectual processes. By exhibiting and detailing the joy of reading Wright, Pitch and Revelation intends to help others chart their own paths into the intellectual, musical, and rhythmical territories of Wright’s world so as to more fully experience joy in the world generally. Although the exhibitions of meaning making presented are instructive, but they do not follow the “do as I do” or “do as I say” model of instructional texts. Instead,they invite the reader to “do along with us” as the authors make meaning from selections across Wright’s erudite, dense, rhythmically fascinating, endlessly lyrical, highly structured, and seemingly hermetic body of work