Titlebook: David Greig’s Holed Theatre; Globalization, Ethic Verónica Rodríguez Book 2019 The Editor(s) (if applicable) and The Author(s), under exclu

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: Sharing Doing and Spatial Transcorporeality,in the context of “austerity Britain” (2010–) and the Arab Spring (2010–2012). In this duologue, while Jack is performed by an actor, Caroline is performed by the audience, who is asked to read her lines on a PowerPoint projection since the cuts to public spending have made it impossible to hire a s

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,: Confounding Spacecraft—Here,ories and undone to produce complex confounding—hence the reference in this chapter’s title to a confounding “spacecraft” (a word used in .). “Bounded categories” refer to dramatic structures that are enclosed, rounded or contained. “Confounding” is the result of the undoing of the contours of categ

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Conclusion: World-Forming Theatre,e plays analysed in the book, such as the ideas of undoing architectures, the role of outsiders and “outsidedness” and the status of women across Greig’s work. The chapter looks at the small acts of utopian reconstitution posited in Greig’s work as precarious recompositions and plays as an attempt t

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https://doi.org/10.1007/978-1-4939-7119-0ization within the contemporary while acknowledging the links with processes such as colonisation. The chapter deploys David Harvey’s theory of space, Zygmunt Bauman’s notion of negative globalization and Jean-Luc Nancy’s idea of . in order to introduce Greig’s theatre’s nuanced understanding of glo

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Ryan R. Dyer,Liqing Gu,Renã A. S. Robinsonre-ontological ethics, the required proximity of the “face” of the Other and the limitations attached to the obliteration of the Self. As the chapter discusses these shortcomings, it progressively introduces Greig’s theatre engagement with ethics. Subsequently, Rodríguez offers a discussion of ethic

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