The book also explores sensory experiences, interrogating textual accounts of the senses at night in writings from the English Renaissance. It investigates Robert Herrick's accounts in Hesperides of how the senses function during sexual pleasure and contact. The book offers an essay on each of the five senses, beginning and ending with two senses, taste and smell, that are often overlooked in studies of early modern culture.
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It argues that the playhouse itself challenged its audiences' reliance on the evidence of their own eyes, teaching early modern playgoers how to see and how to interpret the validity of the visual. The book follows Joachim-Ernst Berendt's call for 'a democracy of the senses' in preference to the various sensory hierarchies that have often shaped theory and criticism. Following Constance Classen's view that understandings of the senses, and sensory experience itself, are culturally and historically contingent it explores the culturally specific role of the senses in textual and aesthetic encounters in England. This book attempts to interrogate the literary, artistic and cultural output of early modern England. The book investigates the role of nothing through three works called neither and Neither: Beckett's short text, Morton Feldman's opera, and Doris Salcedo's sculptural installation. It talks about the history of materiality through that of neurology and brings the two into a dialogue sustained by Beckett texts, letters and notebooks. The book then discusses the nexus between nothing and silence in order to analyse the specific relations between music, sound, and hearing. It also looks at the material history of televisual production and places the aesthetic concerns of Beckett's television plays. The book looks at something that has remained a 'nothing' within the Beckett canon so far: his doodles as they appear in the Human Wishes manuscript. Through the relation between Beckett and nothing, the relation between voice and stone in Jean-Paul Sartre and Beckett, we are reminded precisely of the importance of the history of an idea, even the ideas of context, influence, and history. By retracing the history of Beckett studies through 'nothing', it theorises a future for the study of Beckett's legacies and is interested in the constant problem of value in the oeuvre. This book explains how the Beckett oeuvre, through its paradoxical fidelity to nothing, produces critical approaches which aspire to putting an end to interpretation: in this instance, the issues of authority, intertextuality and context, which this book tackles via 'nothing'. Nothing' has been at the centre of Samuel Beckett's reception and scholarship from its inception. It makes the past intelligible as past and useful to the present. How have street theatre companies converted spaces of manufacturing into spaces of theatrical production? How do these companies (with municipal governments and developers) connect their work to the work that occurred in these spaces in the past? How do those connections manifest in theatrical events, and how do such events give shape and meaning to redevelopment? Street theatre’s function is both economic and historiographic. The book links the proliferation of street theatre in France since the 1970s to the crisis in Fordist-Taylorist modernity. If the transition from industrial to postindustrial space relies on theatrical logics, those logics will manifest differently depending on geographic context. The book argues, secondly, that in contemporary France street theatre has emerged as working memory's privileged artistic form. The book proposes working memory as a central metaphor for these processes. Redevelopment requires theatrical events and performative acts that revise, resituate, and re-embody particular pasts. The book argues, firstly, that deindustrialization and redevelopment rely on the spatial and temporal logics of theatre and performance. Through analysis of French street theatre companies working out of converted industrial sites, this book reveals how theatre and performance more generally participate in and make historical sense of ongoing urban and economic change. Deindustrializing communities have increasingly turned to cultural projects to commemorate industrial heritage while simultaneously generating surplus value and jobs in a changing economy. Street theatre and the production of postindustrial space explores how street theatre transforms industrial space into postindustrial space.
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