By J. Parker-Starbuck
This e-book articulates the 1st theoretical context for a 'cyborg theatre,' metaphorically integrating on-stage our bodies with the technologized, digitized, or mediatized, to re-imagine subjectivity for a post-human age. It covers quite a few examples, to suggest new theoretical instruments for figuring out functionality in our altering global.
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Additional info for Cyborg Theatre: Corporeal/Technological Intersections in Multimedia Performance
That the play ends on this falsely uplifting, biblically humanizing note demonstrates not only “man’s” desire to control both women and reproduction, but also his fear of becoming-machine. ” By this I mean that by the mid-twentieth century, following two world wars, technology was so rapidly advancing that there was no simple way for humanity to keep it in check; technology itself (such as the bomb) began to “control” human lives. Technology after the wars became technologies of horror, of power, when more lives were lost than could have been predicted in earlier cautionary stages.
A focus on embodiment suggests a material foundation through which to incorporate external stimuli, sensations, ideas, systems. It is, as Braidotti defines, a thinking “through the body, not in a flight away from it” (2002: 5). In the midst of a techno-culture of “jacking in” (The Matrix was released in 1999), Hayles, following the feminist theories of Elizabeth Grosz, Elaine Scarry, and others, places an emphasis on an embodied post-humanism as what “mediates between technology and discourse by creating new experiential frameworks that serve as boundary markers for the creation of corresponding discursive systems,” attempting to return the body to technological discussions (Hayles, 1999).
While working as a composer, director, and writer, he wrote Sandmann following the Battle of Dresden (1813) where he was working at the time. This experience and increasing financial instability at the end of the war prompted his employment as a judge in Berlin until his death. 7 Following and adding complexity to the creator-protagonist-objectabject roles from earlier narratives, Sandmann is framed by the character Nathanael’s childhood fear of the Sandman, a figure who is said to steal children’s eyes and who takes shape in the character of Coppelius/Coppola, a frightening man who collaborates with the BACKspace: Historical/Theoretical Intersections 25 scientist Spalanzani to create the automaton Olympia.