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A primary focus of ‘Sites of Performance: Of Time and Memory’ is the impact of time and memory as they intersect and constitute the varied spaces of theatre. These spaces include more traditional sites of theatre, such as those involving stages and curtains, actors and audiences, as well as those other theatres or spaces of performance that range from performance and installation art, to the performance of a string quartet, and from the writing of performance, to the performance of writing.
“In Lunberry’s deft and limpid impressions on the limits of theater, we find a theory of theoria and its double—the fraught aughts and variously perfumed invisibles, the unseen of seeing across the uncoded edges of the stage. This is where the mirror leaves off and thought begins. Or the unthinkable. Lunberry is a lyricist of the core of what makes being seen the necessary but traumatic proposition of theater, and perhaps of being itself.” —Joe Milutis, University of Washington Bothell, author of “Failure, A Writer’s Life”
Preface; 1. A Body Bending: Removing the Boots of Beckett and Proust; 2. (“Silence”): Scripting Absence; 3. Blood on the Wall: The True Tragic Pleasure of “Medea”; 4. Coriolanus in the Marketplace 5. Antonin Artaud’s Unending Death Rattle; 6. Writing upon Theaters of Tragic Thought; 7. Figures of Speech: Ann Hamilton’s Installations of Absence; 8. Illuminated Theater: The Stages of James Turrell; 9. Suspicious Silence: Walking Out on John Cage; 10. In Living Memory: Morton Feldman’s Departing Landscapes; Postscript: Seeing In Plain Sight — Installations in Flight; Bibliography; Index