Mischa Twitchin
Datos Biográficos
| ID | 482326 |
|---|---|
| NOMBRE | Mischa Twitchin |
| NOMBRES | Mischa |
| APELLIDO | Twitchin |
| FIRMA | TWITCHIN M |
| AFILIACIONES | Goldsmiths University of London |
| ORCID | 0000-0001-9810-7268 |
| VERIFICADO | Sí |
| TOTAL DE OBRAS | 12 |
| TOTAL DE CITAS | 2 |
| TOTAL COMO AUTOR | 12 |
| TOTAL COMO EDITOR | 0 |
| PRIMER AÑO DE PUBLICACIÓN | 2000 |
| AÑO MÁS RECIENTE DE PUBLICACIÓN | 2025 |
| ÍNDICE H | 1 |
Dramaturgical Potential
The essay’s title question (“Is it necessary?”) offers a kind of manifesto for thinking through the appeal of and to dramaturgy in performance making, exploring conditions of translation in which this question may be explored in its manifold potential. Informed by my own teaching experience, this concern is both practical and conceptual, reflecting on the translatability of the very word, dramaturgy, where the resonance of the Greek—in its vernac…
Suffocating Magic
Exploring the double dynamic of Artaud’s writings on breath (both practical and conceptual), this essay reflects on the transformation of ‘atmosphere’ into ‘semiosphere’ with the particular sense of a death-inducing magic which Artaud identified with the normative expectations of society. Besides the famous examples of his essay on Plague and the radio project To Have Done With the Judgment of God, Artaud opposes this malign magic, especially in …
On ‘a certain convocation of politic worms’ ( Hamlet )
How might repertoire be thought of through Hamlet’s image of ‘a certain convocation of politic worms’ (4.3.19-20)? That is, through a metaphor of what lives on in the dramatic corpus, nourishing theatricality with its bodies of words in the changing present of the past? Metaphor, as is exemplified by Hamlet, says more than plot, after all, especially when that is reduced to exposition or an interpretative ‘post-mortem’. Indeed, how are the ‘polit…
Addressing ‘the Cultural Level of an Average European’ (Kafka)
Several times during Oliver Frljić’s 2019 production of Kafka’s Report to an Academy, at Berlin’s Gorki Theater, the question ‘are you afraid of Jews?’ is posed. This essay will explore what Kafka’s parables make it possible to ‘remember’ theatrically, through the haunting of the past by the future. Here, perhaps, the question as to what we might be afraid of concerns the idea of European citizenship, as it is repeatedly impugned by the social st…
Dream Projects in Theatre, Novels, and Films
At the heart of Yehuda Moraly's fascinating book is the paradox of offering a critical discussion of artistic works that don't exist. Moraly makes no claim to being either a Calvino or a Borges, writing the very works that are being read by means of his own commentary. Nor is he a Jacques Scherer, reconstructing “the Book” of Stéphane Mallarmé—a letter from whom provides the first epigraph here, now addressed to the present reader, regarding what…
Enduring Touch
Exploring questions of touch after COVID, this essay puts into dialogue Antonin Artaud and Adam Tooze (among others). The dynamics of care and contagion, the tangible and intangible, active and passive – as also reflection on the ‘contactless’ and ‘untact’ economies – are addressed in terms of Artaud’s visionary writings concerning theatre and plague, madness and judgement. Being touched by these writings offers a way to think through the ambigui…
Refracting implication
Addressing the work (or, indeed, the lessons) of Memory Studies, Ann Rigney has suggested that the creative arts play a particular role as ‘catalysts’ in the cultural understanding of the past. Contrasting an example of contemporary theatre repertoire with an officially legislated ‘theatre’ of remembrance, this essay reflects on differences between the cultural politics of a creative performance produced by Warsaw’s Nowy Teatr – (A)pollonia – and…
Theatremachine
Reviewed by: Theatremachine: Tadeusz Kantor in Context ed. by Magda Romanska and Kathleen Cioffi Mischa Twitchin THEATREMACHINE: TADEUSZ KANTOR IN CONTEXT. Edited by Magda Romanska and Kathleen Cioffi. Evanston, Illinois: Northwestern University Press, 2020; pp. 342. After more than thirty years now since his death, the ambition of this collection of essays (in the words of one its coeditors) is "to reframe and reexamine Kantor's work in the crit…
‘A blank page … ’ or ‘Ten years since language left … ’ (Artaud)
In his copy of the published text of Artaud the Mômo, Artaud added a note for a future edition that invokes ‘a blank page to separate the text of the book, which is finished from all the swarming of Bardo which appeared in the limbo of electroshock’. What is at stake in this separation, this interruption, in the time of reading Artaud? What kind of testimony to the necropolitics of modernity might be offered by the interruption provided by this a…
On Repair
Adopting the term from the work of French-Algerian artist, Kader Attia, this essay reflects on what ‘repair’ offers for a reading of decolonising practices of knowledge, addressing the cosmological besides the historical. In contrast to the ‘modern Western’ expectation of the work of repair, in which a break or wound is rendered invisible, Attia advocates the Japanese aesthetic philosophy of kintsugi, in which repair is even highlighted with gold…
Concerning “the Eurocentric African Problem” (Meschac Gaba)
Even as it is often eclipsed by reference to the “contemporary,” modernity is widely celebrated in European museums and galleries. When refracted through the commitments of an avowedly Black artistic agenda, how might these institutions reconceive their understanding of modernism in light of African, diasporic, or Afropean perspectives? How might concerns with African agency be enacted in these cultural spaces as they project historical narrative…
What do we see in theatre
On Repair
Adopting the term from the work of French-Algerian artist, Kader Attia, this essay reflects on what ‘repair’ offers for a reading of decolonising practices of knowledge, addressing the cosmological besides the historical. In contrast to the ‘modern Western’ expectation of the work of repair, in which a break or wound is rendered invisible, Attia advocates the Japanese aesthetic philosophy of kintsugi, in which repair is even highlighted with gold…
What do we see in theatre
Concerning “the Eurocentric African Problem” (Meschac Gaba)
Even as it is often eclipsed by reference to the “contemporary,” modernity is widely celebrated in European museums and galleries. When refracted through the commitments of an avowedly Black artistic agenda, how might these institutions reconceive their understanding of modernism in light of African, diasporic, or Afropean perspectives? How might concerns with African agency be enacted in these cultural spaces as they project historical narrative…
‘A blank page … ’ or ‘Ten years since language left … ’ (Artaud)
In his copy of the published text of Artaud the Mômo, Artaud added a note for a future edition that invokes ‘a blank page to separate the text of the book, which is finished from all the swarming of Bardo which appeared in the limbo of electroshock’. What is at stake in this separation, this interruption, in the time of reading Artaud? What kind of testimony to the necropolitics of modernity might be offered by the interruption provided by this a…
On Repair
Adopting the term from the work of French-Algerian artist, Kader Attia, this essay reflects on what ‘repair’ offers for a reading of decolonising practices of knowledge, addressing the cosmological besides the historical. In contrast to the ‘modern Western’ expectation of the work of repair, in which a break or wound is rendered invisible, Attia advocates the Japanese aesthetic philosophy of kintsugi, in which repair is even highlighted with gold…
Enduring Touch
Exploring questions of touch after COVID, this essay puts into dialogue Antonin Artaud and Adam Tooze (among others). The dynamics of care and contagion, the tangible and intangible, active and passive – as also reflection on the ‘contactless’ and ‘untact’ economies – are addressed in terms of Artaud’s visionary writings concerning theatre and plague, madness and judgement. Being touched by these writings offers a way to think through the ambigui…
Refracting implication
Addressing the work (or, indeed, the lessons) of Memory Studies, Ann Rigney has suggested that the creative arts play a particular role as ‘catalysts’ in the cultural understanding of the past. Contrasting an example of contemporary theatre repertoire with an officially legislated ‘theatre’ of remembrance, this essay reflects on differences between the cultural politics of a creative performance produced by Warsaw’s Nowy Teatr – (A)pollonia – and…
Theatremachine
Reviewed by: Theatremachine: Tadeusz Kantor in Context ed. by Magda Romanska and Kathleen Cioffi Mischa Twitchin THEATREMACHINE: TADEUSZ KANTOR IN CONTEXT. Edited by Magda Romanska and Kathleen Cioffi. Evanston, Illinois: Northwestern University Press, 2020; pp. 342. After more than thirty years now since his death, the ambition of this collection of essays (in the words of one its coeditors) is "to reframe and reexamine Kantor's work in the crit…
Addressing ‘the Cultural Level of an Average European’ (Kafka)
Several times during Oliver Frljić’s 2019 production of Kafka’s Report to an Academy, at Berlin’s Gorki Theater, the question ‘are you afraid of Jews?’ is posed. This essay will explore what Kafka’s parables make it possible to ‘remember’ theatrically, through the haunting of the past by the future. Here, perhaps, the question as to what we might be afraid of concerns the idea of European citizenship, as it is repeatedly impugned by the social st…
Dream Projects in Theatre, Novels, and Films
At the heart of Yehuda Moraly's fascinating book is the paradox of offering a critical discussion of artistic works that don't exist. Moraly makes no claim to being either a Calvino or a Borges, writing the very works that are being read by means of his own commentary. Nor is he a Jacques Scherer, reconstructing “the Book” of Stéphane Mallarmé—a letter from whom provides the first epigraph here, now addressed to the present reader, regarding what…
Suffocating Magic
Exploring the double dynamic of Artaud’s writings on breath (both practical and conceptual), this essay reflects on the transformation of ‘atmosphere’ into ‘semiosphere’ with the particular sense of a death-inducing magic which Artaud identified with the normative expectations of society. Besides the famous examples of his essay on Plague and the radio project To Have Done With the Judgment of God, Artaud opposes this malign magic, especially in …
On ‘a certain convocation of politic worms’ ( Hamlet )
How might repertoire be thought of through Hamlet’s image of ‘a certain convocation of politic worms’ (4.3.19-20)? That is, through a metaphor of what lives on in the dramatic corpus, nourishing theatricality with its bodies of words in the changing present of the past? Metaphor, as is exemplified by Hamlet, says more than plot, after all, especially when that is reduced to exposition or an interpretative ‘post-mortem’. Indeed, how are the ‘polit…
Dramaturgical Potential
The essay’s title question (“Is it necessary?”) offers a kind of manifesto for thinking through the appeal of and to dramaturgy in performance making, exploring conditions of translation in which this question may be explored in its manifold potential. Informed by my own teaching experience, this concern is both practical and conceptual, reflecting on the translatability of the very word, dramaturgy, where the resonance of the Greek—in its vernac…
Art (8 obras) · Aesthetics (7 obras) · Philosophy (6 obras) · Epistemology (5 obras) · Law (5 obras) · Literature (5 obras) · Political science (5 obras) · Politics (5 obras) · Sociology (5 obras) · History (4 obras)