In the Dark Forest, Once Again – Dante’s Perspective Today

Entrance to The Divine Comedy, 2019, by Alfredo Jaar. Photo Credit: Mona/Jesse Hunniford. Image courtesy of MONA, Hobart, Tasmania, Australia by Francesco Giusti Celebrations for the 700th anniversary of Dante’s death (1321–2021) are taking “place” all over the world, albeit displaced due to the current circumstances. They have been somewhat reduced in number and altered in […]

Photo: Thomas Aurin of Rüping's 'Hamlet'

Why do theatre directors work with canonical dramatic texts?: Lars Maagerø on Rüping’s 2017 Hamlet

The most striking moment in the production was the ‘To be or not to be’-soliloquy, which was removed from its dramatic context in the third act and given as the culmination of the performance. The soliloquy was staged not as Hamlet’s private contemplation of suicide, but three actors in the production delivered the speech simultaneously and directed it outwards, towards the audience.

‘Re-Enacting Icons: Self-Portraiture and Selfies’: Prof. Gabriella Giannachi on her current research at the University of Exeter

Lynn Hershman Leeson, Roberta Breitmore, 1974-1978. External Transformations: Roberta’s Construction Chart, No. 1, Dye transfer print, 40″ x 30″, 1975. Courtesy of the artist. How has the rendering of the concept of the ‘self’ in art changed from the early 1400s to the digital present? To explore self-representation in self-portraiture, a number of paintings, photographs, […]

‘Re-/Un-working Tragedy: Perspectives from the Global South’: Ekin Bodur on her upcoming Re- Network conference

But how does recognisable repetition operate as a unique kind of site for invention, and for speech? And how might we see a Global South engagement with the tragic canon as a de-stabilizing gesture – an un-working, rather than a re-working?