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"Theatricality, Dark Tourism and Ethical Spectatorship: Absent Others" builds upon recent literature concerning theatre and ethics and offers a uniquely interdisciplinary approach. With a focus on spectatorship, it brings together analysis of dark tourism -- travel to sites of death and disaster -- and theatrical performances. At dark tourism sites, objects and architecture are often personified, imagined to speak on behalf of absent victims. Spectators are drawn into this dialogical scenario in that they are asked to 'hear' the voices of the dead. Theatrical performances that depict grievous histories similarly gain power through paradoxically demonstrating the limits of their representational ability: spectators who must grapple with absences and incomprehensibilities. This study asks whether playing the part of the listener can be understood in ethical terms. Sites surveyed span a broad geographical scope -- Germany, Poland, Vietnam, Cambodia, New Zealand and Rwanda - and are brought into contrast with performances including: Jerzy Grotowski's "Akropolis", Catherine Filloux's "Photographs from" "S21", Adrienne Kennedy's "An Evening with Dead Essex" and" Erik Ehn's "Maria Kizito"--Back cover.

Dark tourism. --- Dark tourism. --- Spectators --- Theater and society --- Theater and society. --- Theater --- Theater --- Moral and ethical aspects. --- History --- Moral and ethical aspects. --- Moral and ethical aspects. --- 2000-2099.

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"This is a rich, deeply considered, and useful investigation that not only examines theatrical representations of violence but theatre's own implication in the objectifying nature of violence. Its insights will be of use to scholars, students, and practitioners". Dr Suzanne Little, University of Otago, New Zealand This book examines a series of contemporary plays where writers put theatre itself on stage. The texts examined variously dramatize how theatre falls short in response to the demands of violence, expose its implication in structures of violence-including racism and gender-based violence-and illustrate how it might effectively resist violence through reconfiguring representation. Case studies, which include Jackie Sibblies Drury's We Are Proud to Present and Fairview, Ella Hickson's The Writer and Tim Crouch's The Author, provide a range of practice-based perspectives on the question of whether theatre is capable of accounting for and expressing the complexities of structural and interpersonal violence as both lived in the body and borne out in society. The book will appeal to scholars and artists working in the areas of violence, theatre and ethics, witnessing, memory and trauma, spectatorship and contemporary dramaturgy, as well as to those interested in both the doubts and dreams we have about the role of theatre in the twenty-first century. Emma Willis is a senior lecturer in Drama at the University of Auckland, New Zealand. Her research lies at the intersection of contemporary performance and dramaturgy, spectatorship and ethics and investigates the roles that theatre and theatricality play in our negotiations of subjectivity, community and responsibility in contemporary life. Recent publications include Theatricality, Dark Tourism and Ethical Spectatorship: Absent Others (2014), and journal articles and chapters variously exploring metatheatricality, acting pedagogy, kindness and shopping malls.

Theatrical science --- History --- performances (kunst) --- theater --- geschiedenis --- Theatre: persons