Elin Diamond
Biographic Data
| ID | 3586449 |
|---|---|
| NAME | Elin Diamond |
| GIVEN NAMES | Elin |
| FAMILY NAME | Diamond |
| SIGNATURE | DIAMOND E |
| AFFILIATIONS | Rutgers, the State University of New Jersey |
| VERIFIED | No |
| TOTAL WORKS | 27 |
| TOTAL CITATIONS | 59 |
| AUTHOR COUNT | 25 |
| EDITOR COUNT | 2 |
| FIRST PUBLICATION YEAR | 1981 |
| LATEST PUBLICATION YEAR | 2018 |
| H-INDEX | 2 |
Reactivating the City: A Situationist-Inspired Map of New York
Reactivating the City:A Situationist-Inspired Map of New York Elin Diamond Melissa Schultheis's situationist-inspired map appears in the print version of my essay "Reactivating the City: Kibeho, Black Lives Matter, and the Situationist Dérive," published in the September 2018 issue of Theatre Journal. Click for larger view View full resolution Figure 1. Guy Debord and Asgar Jorn, The Naked City: Illustration de l'hypothèse des plaques tournantes …
Reactivating the City: Kibeho, Black Lives Matter, and the Situationist Dérive
This essay argues that the Situationist International (1957–72) and its early concepts of psychogeography (a city's sensorial impact on its residents), dérive (drift), and détournement (rerouting, recontextualization) can enliven our thinking about recent politically charged events—namely, a performance of Katori Hall's Our Lady of Kibeho at the Pershing Square Signature Center in New York City on December 4, 2014, and a spontaneous Black Lives M…
Performance, Feminism and Affect in Neoliberal Times
Feminism, Assemblage, and Performance: Kara Walker in Neoliberal Times
Elin Diamond argues that neoliberalism challenges feminist performance theory to locate agency across multiple bodies in unpredictable configurations. Linking affect theory, assemblage, and distributive agency with urban ‘revanchism’ in New York City, Diamond discusses mixed-media artist Kara Walker’s cut-paper silhouettes of the 1990s and, in 2014, her colossal 40-foot tall ‘new-world sphinx’, a sugar-and-styrofoam installation entitled ‘A Subtl…
Herbert Blau: 1926–2013
December 01 2013 Herbert Blau: 1926–2013 Sue-Ellen Case, Sue-Ellen Case Search for other works by this author on: This Site Google Scholar Elin Diamond, Elin Diamond Search for other works by this author on: This Site Google Scholar Jill Dolan, Jill Dolan Search for other works by this author on: This Site Google Scholar Janelle Reinelt, Janelle Reinelt Search for other works by this author on: This Site Google Scholar Richard Schechner Richard S…
Obituary: Ruby Cohn (1922-2011)
Obituary:Ruby Cohn (1922-2011) Elin Diamond Renowned theater scholar and Beckett specialist Ruby Cohn died in Oakland, California, on 18 October 2011 after a prolonged struggle with Parkinson's disease. She was age 89. Cohn was professor of comparative drama at the University of California, Davis, where for thirty years she was a member of or affiliated with the Comparative Literature, Dramatic Art, English, and French departments and taught cour…
We Keep Living
We Keep Living Elin Diamond (bio) A forum on contemporary women playwrights ought to include women who are still carrying on long and varied careers, working in the contemporary moment even if they are not, in conventional terms, of it. Over ten years ago, I wrote on the performances of Peggy Shaw's You're Just Like My Father (1994), Robbie McCauley's Indian Blood (1987), and Deb Margolin's Carthieves! Joyrides (1995) in the final chapter of my b…
The Cambridge Companion to Caryl Churchill
"Caryl Churchill's plays are internationally performed, studied and acclaimed by practitioners, theatre scholars, critics and audiences alike. With fierce imagination the plays dramatise the anxieties and terrors of contemporary life. This Companion presents new scholarship on Churchill's extraordinary and ground-breaking work. Chapters explore a cluster of major plays in relation to pressing social topics - ecological crisis, sexual politics, re…
Critical Theory and Performance
Mom How Did You Meet the Beatles: A True Story of London in the 1960s (review)
Medea (review)
Industrial soundscape and a keening wail, the contemporary and the ancient, introduce the clash of cultures and genders in Deborah Warner's production of Euripides' Medea at the Brooklyn Academy of Music. Created at Dublin's Abbey Theatre in 2000, this satisfying production joins a plethora of recent Medeas, at the Classical Theater of Harlem, Milwaukee's Chamber Theatre, and the Pittsburgh Public Theater, among others. Since the attacks of Septe…
The Haunted Stage: The Theatre as Memory Machine (review)
The thesis driving The Haunted Stage is that theatre, from its earliest manifestations to the present, is constitutively "haunted." Although all art forms reuse their materials, Marvin Carlson insists on a close correspondence between the memories of individual spectators and the apparently universal tendency of playwrights, actors, directors, designers, and managers to "recycle," respectively, narrative elements, gestures, concepts, sets, and bu…
A Forum on Theatre and Tragedy: A Response to September 11, 2001
In the immediate aftermath of September 11th, I invited a number of theatre and performance scholars to respond to the concept of tragedy in the context of these world-changing events. The following forum showcases the generosity of a wide range of scholars who signed on to this project with enthusiasm and conviction. More than ever, I believe that our intellectual labor can make a difference. The forum demonstrates much more than the vitality of…
Critical love: Lynda Hart
Re: Blau, Butler, Beckett, and the Politics of Seeming
At the core of Herbert Blau's theatre theory are meditations on appearance, repetition, bodily texts, temporality, history, and the illusory and elusive workings of power. Blau's decades of theorizing are refracted through his long experience as a theatremaker, including his production of Waiting for Godot—before an audience of San Quentin prisoners. In this essay, Diamond explores the affinities between Blau, the poststructuralists, and Beckett
Body Leaks
Crossing the Corpus Callosum: An Interview with Joan Schenkar
Lear
Gestus and Signature in Aphra Behn's the Rover
Near the end of act 2 of The Rover, after the wealthy virgins and hungry gallants have been introduced, and the reader-spectator is made aware that comic symmetry is pressing toward chase and final reward, mention is made of a beautiful courtesan whom the gallants, including the affianced ones, are trying to impress. Angellica Bianca would seem to be a supplement to the intrigue plot-a supplement since one need not intrigue to visit a whore. Yet …
Brechtian Theory/ Feminist Theory: Toward a Gestic Feminist Criticism
(In)Visible Bodies in Churchill's Theatre
Helene Cixous's The of the Medusa, the controversial manifesto of l'6criture feminine, opens forcefully: I shall speak about women's writing: about what it will do (245). Revolutionary myth as much as practice, feminine celebrates the libidinal multivalence of a woman's body and imagines a uniquely female writing that disrupts, mimics, exceeds, and dismantles what is known in feminist discourse as the patriarchal symbolic.3 Since the 1975/1976 pu…
Female Parts: An Open Couple, the Rape, Medea
Carry on, Understudies
Pinter's Comic Play
Examines the basis of Harold Pinter's tense comedy and how it functions in his plays as well as covering the major drama from The Room to Other Places. Diamond argues that the metaphysical fear and emptiness so characteristic of the Pinter situation are inseparable from his use and abuse of literary and popular comic traditions
Childhood
Critical Theory and Performance
Refusing the Romanticism of Identity: Narrative Interventions in Churchill, Benmussa, Duras
Kristeva goes on to advocate an art that dissolves identity, even sexual identities. These assertions with their implied prescriptions for feminist artists are worth considering in light of the contemporary practice of Caryl Churchill, Simone Benmussa, and Marguerite Duras. Arguably the representation of beings in action is the concern of the dramatist, but for these dramatists, female being is the problematical motive for play action. In fact Ch…
Reactivating the City: Kibeho, Black Lives Matter, and the Situationist Dérive
This essay argues that the Situationist International (1957–72) and its early concepts of psychogeography (a city's sensorial impact on its residents), dérive (drift), and détournement (rerouting, recontextualization) can enliven our thinking about recent politically charged events—namely, a performance of Katori Hall's Our Lady of Kibeho at the Pershing Square Signature Center in New York City on December 4, 2014, and a spontaneous Black Lives M…
We Keep Living
We Keep Living Elin Diamond (bio) A forum on contemporary women playwrights ought to include women who are still carrying on long and varied careers, working in the contemporary moment even if they are not, in conventional terms, of it. Over ten years ago, I wrote on the performances of Peggy Shaw's You're Just Like My Father (1994), Robbie McCauley's Indian Blood (1987), and Deb Margolin's Carthieves! Joyrides (1995) in the final chapter of my b…
Mom How Did You Meet the Beatles: A True Story of London in the 1960s (review)
A Forum on Theatre and Tragedy: A Response to September 11, 2001
In the immediate aftermath of September 11th, I invited a number of theatre and performance scholars to respond to the concept of tragedy in the context of these world-changing events. The following forum showcases the generosity of a wide range of scholars who signed on to this project with enthusiasm and conviction. More than ever, I believe that our intellectual labor can make a difference. The forum demonstrates much more than the vitality of…
Beckett Directs Beckett: Krapp's Last Tape
Childhood
Refusing the Romanticism of Identity: Narrative Interventions in Churchill, Benmussa, Duras
Kristeva goes on to advocate an art that dissolves identity, even sexual identities. These assertions with their implied prescriptions for feminist artists are worth considering in light of the contemporary practice of Caryl Churchill, Simone Benmussa, and Marguerite Duras. Arguably the representation of beings in action is the concern of the dramatist, but for these dramatists, female being is the problematical motive for play action. In fact Ch…
Pinter's Comic Play
Examines the basis of Harold Pinter's tense comedy and how it functions in his plays as well as covering the major drama from The Room to Other Places. Diamond argues that the metaphysical fear and emptiness so characteristic of the Pinter situation are inseparable from his use and abuse of literary and popular comic traditions
Carry on, Understudies
Brechtian Theory/ Feminist Theory: Toward a Gestic Feminist Criticism
(In)Visible Bodies in Churchill's Theatre
Helene Cixous's The of the Medusa, the controversial manifesto of l'6criture feminine, opens forcefully: I shall speak about women's writing: about what it will do (245). Revolutionary myth as much as practice, feminine celebrates the libidinal multivalence of a woman's body and imagines a uniquely female writing that disrupts, mimics, exceeds, and dismantles what is known in feminist discourse as the patriarchal symbolic.3 Since the 1975/1976 pu…
Female Parts: An Open Couple, the Rape, Medea
Gestus and Signature in Aphra Behn's the Rover
Near the end of act 2 of The Rover, after the wealthy virgins and hungry gallants have been introduced, and the reader-spectator is made aware that comic symmetry is pressing toward chase and final reward, mention is made of a beautiful courtesan whom the gallants, including the affianced ones, are trying to impress. Angellica Bianca would seem to be a supplement to the intrigue plot-a supplement since one need not intrigue to visit a whore. Yet …
Lear
Crossing the Corpus Callosum: An Interview with Joan Schenkar
Body Leaks
Re: Blau, Butler, Beckett, and the Politics of Seeming
At the core of Herbert Blau's theatre theory are meditations on appearance, repetition, bodily texts, temporality, history, and the illusory and elusive workings of power. Blau's decades of theorizing are refracted through his long experience as a theatremaker, including his production of Waiting for Godot—before an audience of San Quentin prisoners. In this essay, Diamond explores the affinities between Blau, the poststructuralists, and Beckett
A Forum on Theatre and Tragedy: A Response to September 11, 2001
In the immediate aftermath of September 11th, I invited a number of theatre and performance scholars to respond to the concept of tragedy in the context of these world-changing events. The following forum showcases the generosity of a wide range of scholars who signed on to this project with enthusiasm and conviction. More than ever, I believe that our intellectual labor can make a difference. The forum demonstrates much more than the vitality of…
Critical love: Lynda Hart
Medea (review)
Industrial soundscape and a keening wail, the contemporary and the ancient, introduce the clash of cultures and genders in Deborah Warner's production of Euripides' Medea at the Brooklyn Academy of Music. Created at Dublin's Abbey Theatre in 2000, this satisfying production joins a plethora of recent Medeas, at the Classical Theater of Harlem, Milwaukee's Chamber Theatre, and the Pittsburgh Public Theater, among others. Since the attacks of Septe…
The Haunted Stage: The Theatre as Memory Machine (review)
The thesis driving The Haunted Stage is that theatre, from its earliest manifestations to the present, is constitutively "haunted." Although all art forms reuse their materials, Marvin Carlson insists on a close correspondence between the memories of individual spectators and the apparently universal tendency of playwrights, actors, directors, designers, and managers to "recycle," respectively, narrative elements, gestures, concepts, sets, and bu…
Critical Theory and Performance
Mom How Did You Meet the Beatles: A True Story of London in the 1960s (review)
The Cambridge Companion to Caryl Churchill
"Caryl Churchill's plays are internationally performed, studied and acclaimed by practitioners, theatre scholars, critics and audiences alike. With fierce imagination the plays dramatise the anxieties and terrors of contemporary life. This Companion presents new scholarship on Churchill's extraordinary and ground-breaking work. Chapters explore a cluster of major plays in relation to pressing social topics - ecological crisis, sexual politics, re…
We Keep Living
We Keep Living Elin Diamond (bio) A forum on contemporary women playwrights ought to include women who are still carrying on long and varied careers, working in the contemporary moment even if they are not, in conventional terms, of it. Over ten years ago, I wrote on the performances of Peggy Shaw's You're Just Like My Father (1994), Robbie McCauley's Indian Blood (1987), and Deb Margolin's Carthieves! Joyrides (1995) in the final chapter of my b…
Obituary: Ruby Cohn (1922-2011)
Obituary:Ruby Cohn (1922-2011) Elin Diamond Renowned theater scholar and Beckett specialist Ruby Cohn died in Oakland, California, on 18 October 2011 after a prolonged struggle with Parkinson's disease. She was age 89. Cohn was professor of comparative drama at the University of California, Davis, where for thirty years she was a member of or affiliated with the Comparative Literature, Dramatic Art, English, and French departments and taught cour…
Herbert Blau: 1926–2013
December 01 2013 Herbert Blau: 1926–2013 Sue-Ellen Case, Sue-Ellen Case Search for other works by this author on: This Site Google Scholar Elin Diamond, Elin Diamond Search for other works by this author on: This Site Google Scholar Jill Dolan, Jill Dolan Search for other works by this author on: This Site Google Scholar Janelle Reinelt, Janelle Reinelt Search for other works by this author on: This Site Google Scholar Richard Schechner Richard S…
Performance, Feminism and Affect in Neoliberal Times
Feminism, Assemblage, and Performance: Kara Walker in Neoliberal Times
Elin Diamond argues that neoliberalism challenges feminist performance theory to locate agency across multiple bodies in unpredictable configurations. Linking affect theory, assemblage, and distributive agency with urban ‘revanchism’ in New York City, Diamond discusses mixed-media artist Kara Walker’s cut-paper silhouettes of the 1990s and, in 2014, her colossal 40-foot tall ‘new-world sphinx’, a sugar-and-styrofoam installation entitled ‘A Subtl…
Art (20 works) · Theatre and Performance Studies (13 works) · History (12 works) · Literature (12 works) · History (10 works) · Art history (9 works) · Sociology (9 works) · Law (8 works) · Political science (7 works) · Psychology (7 works)