Borders, Thresholds and Crossings: Liminal Spaces in Post1989 British Theatre
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Mireia Aragay [1]
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[1] Universitat de Barcelona
Universitat de Barcelona
Barcelona, España
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- Localización: De fronteres i arts escèniques / coord. por Núria Santamaria, Francesc Foguet i Boreu, 2015, ISBN 978-84-943779-0-7, págs. 95-107
- Idioma: inglés
- Enlaces
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Resumen
This article focuses on three plays — Harold Pinter’s Party Time (1991), Sarah Kane’s Blasted (1995) and Caryl Churchill’s Far Away (2000) — written in the years between the symbolic end of the Cold War in 1989 and the events of 9/11. They are examined in the light of contemporary geographical theory and the spread of globalization in order to explore the way(s) in which they both thematise thresholds, borders and crossings and simultaneously demonstrate the immanent yet mobile and permeable nature of borders in the theatre. It is argued that they do so by pushing against both certain naturalistic boundaries of the theatrical representation of space and the boundaries of the “theatre situation” itself, ultimately producing alternative, liminal spatialisations that urgently solicit the spectators’ transformation into ethically “response-able” double witnesses.
