Titlebook: Cyborg Theatre; Corporeal/Technologi Jennifer Parker-Starbuck Book 2011 Palgrave Macmillan, a division of Macmillan Publishers Limited 2011

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BACKspace: Historical/Theoretical Intersections,rn towards notions of embodiment. Two publications in 1999, for example, use “post” to signify changing human-technological relations that underpin some of the theoretical and theatrical concerns of this book, Katherine Hayles’s ., and Hans-Thies Lehmann’s . (although the latter was not translated i

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,SHIFTing the Balance: “Abject” Bodies,formation. But the abject bodies of this chapter, disabled, disembodied, mechanical, and relegated to the outskirts, are all in their own ways already subjects; considering them under the designation of abject is a problematic, but also necessary, identification to reframe differing abilities. While

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,“Object” of CONTROL: Framing the Fragments, and a book on Breughel. This is the Breughelland of Ligeti’s opera, a body abused — the camera cuts to a woman, “Claudia,” mouth open in a panicked scream, perhaps having a heart attack, in pain. A close up of her distressed face remains visible as the lights shift and the projection appears on the

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,ENTERing the View: Triangulating “Subject” Bodies,ing into characters in such rides as the 1967 “Pirates of the Caribbean”), immersive 3-D action became this “ride’s” gimmick. These are, however, theme park rides that audiences encounter as theatre: bodies fill the audience in theatrical rows, and through glasses are drawn into immersively “live” e

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Conclusion: Remembering Bodies, Becoming-Cyborg,uced. In performance, this new strand is strengthened as concepts of abject, object, and subject form inter-alliances — these are crucially not erasures of the specific bodies of each category (though in this new testing stage there are still likely to be a few), but rather alliances formed to shed

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Adult Learning and la Recherche Fémininere, science, the military, and in daily life as a representation of the often tangled line between bodies and technology. Taken literally (as a visual or physical composite) — a body fixed in its co-mingling of parts, machine and flesh — the cyborg has been considered “monstrous” and is often a figu

Sleep-Paralysis

Adult Learning and la Recherche Fémininern towards notions of embodiment. Two publications in 1999, for example, use “post” to signify changing human-technological relations that underpin some of the theoretical and theatrical concerns of this book, Katherine Hayles’s ., and Hans-Thies Lehmann’s . (although the latter was not translated i

LINES

https://doi.org/10.1057/9781137012982formation. But the abject bodies of this chapter, disabled, disembodied, mechanical, and relegated to the outskirts, are all in their own ways already subjects; considering them under the designation of abject is a problematic, but also necessary, identification to reframe differing abilities. While

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https://doi.org/10.1057/9781137012982 and a book on Breughel. This is the Breughelland of Ligeti’s opera, a body abused — the camera cuts to a woman, “Claudia,” mouth open in a panicked scream, perhaps having a heart attack, in pain. A close up of her distressed face remains visible as the lights shift and the projection appears on the

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The “Enrichments” Learning Pathing into characters in such rides as the 1967 “Pirates of the Caribbean”), immersive 3-D action became this “ride’s” gimmick. These are, however, theme park rides that audiences encounter as theatre: bodies fill the audience in theatrical rows, and through glasses are drawn into immersively “live” e