Matthew Goulish and Laura Cull
- Published in print:
- 2005
- Published Online:
- March 2012
- ISBN:
- 9780748635030
- eISBN:
- 9780748652587
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748635030.003.0007
- Subject:
- Philosophy, General
This chapter explores Gilles Deleuze's Bergsonism and the notion of multiplicity with respect to latitude and longitude, and the relation between the spatial and the temporal in performance. It ...
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This chapter explores Gilles Deleuze's Bergsonism and the notion of multiplicity with respect to latitude and longitude, and the relation between the spatial and the temporal in performance. It highlights the complexity of the ordinary and the thickness of the present against narratives of disappearance, or correlative (over-)emphases on virtuality. It suggests that the collaborative performance group Goat Island's ‘creative response’ might also be an apt description of Deleuze's Bergsonism, though it was not a representation of Henri Bergson, so much as a creative interpretation that aims to generate novelty.Less
This chapter explores Gilles Deleuze's Bergsonism and the notion of multiplicity with respect to latitude and longitude, and the relation between the spatial and the temporal in performance. It highlights the complexity of the ordinary and the thickness of the present against narratives of disappearance, or correlative (over-)emphases on virtuality. It suggests that the collaborative performance group Goat Island's ‘creative response’ might also be an apt description of Deleuze's Bergsonism, though it was not a representation of Henri Bergson, so much as a creative interpretation that aims to generate novelty.
Jane Blocker
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9780816696970
- eISBN:
- 9781452952321
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816696970.003.0002
- Subject:
- Art, Visual Culture
The chapter thinks in detail about repair, repetition, and hollowing-out as historical methods, which are discussed in relation to a performance by Goat Island called When will the September roses ...
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The chapter thinks in detail about repair, repetition, and hollowing-out as historical methods, which are discussed in relation to a performance by Goat Island called When will the September roses bloom? Last night was only a comedy. This chapter argues that the group’s work provides alternatives to entrenched historical practices and that its theory of repair can be productively adapted to the task of history.Less
The chapter thinks in detail about repair, repetition, and hollowing-out as historical methods, which are discussed in relation to a performance by Goat Island called When will the September roses bloom? Last night was only a comedy. This chapter argues that the group’s work provides alternatives to entrenched historical practices and that its theory of repair can be productively adapted to the task of history.
Jane Blocker
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9780816696970
- eISBN:
- 9781452952321
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816696970.003.0006
- Subject:
- Art, Visual Culture
This chapter considers Claire Bishop’s critique of Goat Island’s final performance called The Lastmaker (2007-9), in which she accused it of failing to be contemporary. It examines a particular scene ...
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This chapter considers Claire Bishop’s critique of Goat Island’s final performance called The Lastmaker (2007-9), in which she accused it of failing to be contemporary. It examines a particular scene in which Mark Jeffery impersonates queer British comedian Larry Grayson in the guise of St. Francis of Assisi, and thinks critically about the extent to which minoritarian subjects are able to claim some part of the now.Less
This chapter considers Claire Bishop’s critique of Goat Island’s final performance called The Lastmaker (2007-9), in which she accused it of failing to be contemporary. It examines a particular scene in which Mark Jeffery impersonates queer British comedian Larry Grayson in the guise of St. Francis of Assisi, and thinks critically about the extent to which minoritarian subjects are able to claim some part of the now.
