From the destruction of the Twin Towers in 2001, to the devastation of the Indian Ocean tsunami in 2004, to the images of the current refugee crisis and recent terrorist atrocities, the early twenty-first century has witnessed increased media interest in showing all kinds of wreckage to a global audience. While these particular examples are captured in images of the debris and detritus of a catastrophe, there has also been a significant turn, particularly in the UK, to the descriptions and linguistic performances of emotional and psychological wreckage, from the victims of various high-profile sexual grooming and abuse cases, to survivors and witnesses of other events. Wreckage is also increasingly made available through the rise of television dramas that deal with violence and representations of its aftermath.<\/p>\n
Staging the Wreckage<\/em>\u00a0considers how theatre can call on \u2018stagings of wreckage\u2019 to show the labour of performance, the inevitable failure of representation and the disasters immanent in human relations. Beyond explorations of theatrical wrecks and wreckage, this issue brings together international scholars and artists who explore the performativity of wreckage, its sites, politics and \u2018practices\u2019, in essays, provocations and artists pages.<\/p>\n <\/p>\n CONTENTS:<\/p>\n Staging the Wreckage\u2009: Editorial<\/strong> A Piece of Metal\u2009: Parts of Third Angel\u2019s Parts for Machines that do Things<\/strong> Bodily Wreckage, Economic Salvage and the Middle Passage\u2009: In Sondra Perry\u2019s Typhoon coming on<\/strong> Staging the Wreck of the Unbelievable\u2009: Performing ideology: Imaginary surplus, alienation and anxiety<\/strong> Salvaging a Sense of the Future\u2009: Towards a political aesthetics of wreckage<\/strong> Beyond the Sewol\u2009: Performing acts of activism in South Korea<\/strong> Rethinking Tourism\u2009: On the politics and practices of \u2018staging\u2019 New Orleans<\/strong> Re: Staging the Trauma [artist\u2019s pages]<\/strong> A Visitor Centre for the Next Nuclear Disaster<\/strong> Crisis Acting in The Destroyed Room<\/strong> THEATRE : POST : A photo essay<\/strong> Anthropocentric Wreckages\u2009: Diffracting bodies that haunt across time<\/strong> Dismantling, Disappearing, Reconstituting? Reflections on the Mackintosh fire 2018<\/strong> Murder in Miniature<\/strong> Treasuring Detritus\u2009: Reflections on the wreckage left behind by artistic research<\/strong> Postmodern wreckage in Kate McIntosh\u2019s Worktable and Peter McMaster\u2019s Gold Piece<\/strong> Body in Ruin\u2009: Outside the matter of representation<\/strong> Touch the Heart \u2013 Feel the Crash\u2009: Hands bridging bodies that beat the rhythm of loss<\/strong> Wreaking Havoc\u2009: The feeling of what happens in Katie Mitchell\u2019s Cleansed<\/strong> Wrecks Emotional and Unemotional\u2009: Mental Distress in Contemporary Performance Edinburgh 2018<\/strong> Theatre Mitu : Remnant [artist\u2019s pages]<\/strong>
\nGianna Bouchard, Patrick Duggan<\/p>\n
\nAlexander Kelly, Chris Thorpe<\/p>\n
\nArabella Stanger<\/p>\n
\nGabriella Calchi-Novati<\/p>\n
\nWilliam Platt<\/p>\n
\nAreum Jeong<\/p>\n
\nPatrick Duggan<\/p>\n
\nLaurie Beth Clark<\/p>\n
\nSean Simon<\/p>\n
\nJoseph Dunne-Howrie<\/p>\n
\nAshley Marinaccio<\/p>\n
\nAnnouchka C. Bayley<\/p>\n
\nViviana Checchia, Anika Marschall<\/p>\n
\nGianna Bouchard<\/p>\n
\nRhiannon Jones, Michael Pinchbeck<\/p>\n
\nZelda Hannay<\/p>\n
\nE. A. Stinson<\/p>\n
\nSylvia Solakidi<\/p>\n
\nNicola Shaughnessy<\/p>\n
\nBridget Escolme<\/p>\n
\nTheater Mitu<\/p>\n\n\n