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?
Mischa Twitchin’s essay films engage with philosophical ideas through a carefully calibrated and playful combination of sound, pace, image, duration and text.
This essay-film performs the paradoxical simultaneities it addresses. As film-philosophy, its meaning depends on being watched several times. Or as Twitchin puts it, ‘we have to practice Brechtian watching of the other watchers’.
What happens in performance, above all to the characters, when an actor transforms them from their fictional existence on the page to their physical enactment on the stage?
What insights about the idea of ‘translation’ might be gleaned from thinking about it not only in performance, but itself as a kind of performance? Nicholas Arnold, following last week’s ‘Re-’ Interdisciplinary Network symposium on ‘Translation as Performance’, was prompted to reflect on the multicultural and multilingual shows and audiences that have characterized international theatre festivals since the 1960s – including his own productions.