Nicholas Ridout
Biographic Data
| ID | 1634035 |
|---|---|
| NAME | Nicholas Ridout |
| GIVEN NAMES | Nicholas |
| FAMILY NAME | Ridout |
| SIGNATURE | RIDOUT N |
| AFFILIATIONS | Queen Mary University of London |
| VERIFIED | No |
| TOTAL WORKS | 9 |
| TOTAL CITATIONS | 5 |
| WORKS AS AUTHOR | 9 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2005 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 2 |
Performance, Possession, and Automation
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A History of Modern Oman
The ideal introduction to the history of modern Oman from the eighteenth century to the present, this book combines the most recent scholarship on Omani history with insights drawn from a close analysis of the politics and international relations of contemporary Oman. Jeremy Jones and Nicholas Ridout offer a distinctive new approach to Omani history, building on postcolonial thought and integrating the study of politics and culture. The book addr…
Regarding Theatre
Regarding Theatre:Thoughts on Recent Work by Simon Vincenzi and Romeo Castellucci Nicholas Ridout A spectator is a kind of pervert, they say. Spectatorship is a condition, a disease. It will make you pale and feeble; it will sap your energy and render you unfit for action. You will weep for deaths when no one died and discharge valuable psychic resources on unreciprocable loves. You will wear out your capacity for genuine feeling and lose touch w…
Oman, Culture and Diplomacy
A study of the Sultanate of Oman, painting a portrait of a nation through its diplomacy Drawing on key research into Omani religious and social traditions, and ethnographic studies into Omani language and customs, this is the first book to connect Oman's international relations to its history, culture and social organisation. From colonial narratives and Cold War calculations to Iranian-US relations and the Middle East peace process, Oman has pla…
Precarity and Performance
Precarity has become a byword for life in late and later capitalism. How do we pay attention to precarity—economic precarity, neoliberal precarity—through a close reading of the performing body? Does the place of the arts in global capitalism, and the particular relations implied by “affective labor” and “creative capital,” mean that we are working and living in the affect factory? What can theatre and performance tell us about this condition
On the Work of Things
Heiner Goebbels's music theatre installation Stifters Dinge , a "no-man show" dominated by five automated pianos, provides the starting point for a consideration of the piano and the theatre as machines for the production of social relations. This essay traces the history of the piano as an instrument of bourgeois revolution, in which a historically distinctive relation between people and things is constructed. It builds on autonomist theorizatio…
Welcome to the Vibratorium
This article proposes the Vibratorium as a model for thinking about the transmission of affect in the theater. This proposal arises from a consideration, by way of Marcel Proust's account of a performance by the great actress "Berma," of the way in which an audience's applause seems to "make" an actor's performance. The familiar idea of a reciprocal "energy exchange" between performers and audience is developed by way of an Artaudian conception o…
Staging the Savage God
Reviewed by: Staging the Savage God: The Grotesque in Performance Nicholas Ridout Staging the Savage God: The Grotesque in Performance. By Ralf E. Remshardt. Carbondale: Southern Illinois University Press, 2004; pp. 304. $55.00 cloth. Ralf Remshardt's absorbing book begins with what may turn out to have been the end. Reflecting on his experience at a performance of Alfred Jarry's now notorious Ubu Roi in Paris, the Irish poet W. B. Yeats conclude…
Democratic Development in Oman
Everyone accepts a one size fits all model cannot deliver successful democratic reform. But it is less widely understood that the process is open-ended, with no predetermined finishing line. Development depends on a political version of bio-diversity, in which democracy emerges organically out of existing local traditions and practices. In the case of Oman a deeply rooted tradition of consultative rule, and the distinctive philosophy of Ibadism h…
Welcome to the Vibratorium
This article proposes the Vibratorium as a model for thinking about the transmission of affect in the theater. This proposal arises from a consideration, by way of Marcel Proust's account of a performance by the great actress "Berma," of the way in which an audience's applause seems to "make" an actor's performance. The familiar idea of a reciprocal "energy exchange" between performers and audience is developed by way of an Artaudian conception o…
Democratic Development in Oman
Everyone accepts a one size fits all model cannot deliver successful democratic reform. But it is less widely understood that the process is open-ended, with no predetermined finishing line. Development depends on a political version of bio-diversity, in which democracy emerges organically out of existing local traditions and practices. In the case of Oman a deeply rooted tradition of consultative rule, and the distinctive philosophy of Ibadism h…
On the Work of Things
Heiner Goebbels's music theatre installation Stifters Dinge , a "no-man show" dominated by five automated pianos, provides the starting point for a consideration of the piano and the theatre as machines for the production of social relations. This essay traces the history of the piano as an instrument of bourgeois revolution, in which a historically distinctive relation between people and things is constructed. It builds on autonomist theorizatio…
Staging the Savage God
Reviewed by: Staging the Savage God: The Grotesque in Performance Nicholas Ridout Staging the Savage God: The Grotesque in Performance. By Ralf E. Remshardt. Carbondale: Southern Illinois University Press, 2004; pp. 304. $55.00 cloth. Ralf Remshardt's absorbing book begins with what may turn out to have been the end. Reflecting on his experience at a performance of Alfred Jarry's now notorious Ubu Roi in Paris, the Irish poet W. B. Yeats conclude…
Democratic Development in Oman
Everyone accepts a one size fits all model cannot deliver successful democratic reform. But it is less widely understood that the process is open-ended, with no predetermined finishing line. Development depends on a political version of bio-diversity, in which democracy emerges organically out of existing local traditions and practices. In the case of Oman a deeply rooted tradition of consultative rule, and the distinctive philosophy of Ibadism h…
Welcome to the Vibratorium
This article proposes the Vibratorium as a model for thinking about the transmission of affect in the theater. This proposal arises from a consideration, by way of Marcel Proust's account of a performance by the great actress "Berma," of the way in which an audience's applause seems to "make" an actor's performance. The familiar idea of a reciprocal "energy exchange" between performers and audience is developed by way of an Artaudian conception o…
Oman, Culture and Diplomacy
A study of the Sultanate of Oman, painting a portrait of a nation through its diplomacy Drawing on key research into Omani religious and social traditions, and ethnographic studies into Omani language and customs, this is the first book to connect Oman's international relations to its history, culture and social organisation. From colonial narratives and Cold War calculations to Iranian-US relations and the Middle East peace process, Oman has pla…
Precarity and Performance
Precarity has become a byword for life in late and later capitalism. How do we pay attention to precarity—economic precarity, neoliberal precarity—through a close reading of the performing body? Does the place of the arts in global capitalism, and the particular relations implied by “affective labor” and “creative capital,” mean that we are working and living in the affect factory? What can theatre and performance tell us about this condition
On the Work of Things
Heiner Goebbels's music theatre installation Stifters Dinge , a "no-man show" dominated by five automated pianos, provides the starting point for a consideration of the piano and the theatre as machines for the production of social relations. This essay traces the history of the piano as an instrument of bourgeois revolution, in which a historically distinctive relation between people and things is constructed. It builds on autonomist theorizatio…
Regarding Theatre
Regarding Theatre:Thoughts on Recent Work by Simon Vincenzi and Romeo Castellucci Nicholas Ridout A spectator is a kind of pervert, they say. Spectatorship is a condition, a disease. It will make you pale and feeble; it will sap your energy and render you unfit for action. You will weep for deaths when no one died and discharge valuable psychic resources on unreciprocable loves. You will wear out your capacity for genuine feeling and lose touch w…
A History of Modern Oman
The ideal introduction to the history of modern Oman from the eighteenth century to the present, this book combines the most recent scholarship on Omani history with insights drawn from a close analysis of the politics and international relations of contemporary Oman. Jeremy Jones and Nicholas Ridout offer a distinctive new approach to Omani history, building on postcolonial thought and integrating the study of politics and culture. The book addr…
Performance, Possession, and Automation
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Political science (6 works) · Theatre and Performance Studies (6 works) · Art (5 works) · Politics (5 works) · Sociology (5 works) · Aesthetics (4 works) · Law (4 works) · Philosophy (4 works) · Middle East and Rwanda Conflicts (3 works) · Philosophy (3 works)