Rethinking Roland Barthes Through Performance

List of Figures Notes on Contributors Acknowledgements Introduction: Contemporary Performance After Roland Barthes – Harry Robert Wilson Part 1 – A Dictionary of Twinklings 1. 5 Theses for a Dramaturgy of Performance – Matthew Goulish and Lin Hixson 2. Ceaselessly Positing and Evaporating Meaning: A Performance Score – Pablo Pakula 3. Looking Through Old Photographs – Andy Field and Deborah Pearson 4. Recipes / Addendums / Souvenirs – greenandowens (Katheryn Owens and Chris Green) 5. Ways to Submit – Ira Brand 6. All the Sense of Real: A World of Wrestling – Simon Bayly 7. Practising Neutral Dramaturgy(ies) – Will Daddario and Harry Robert Wilson Part 2 – Rethinking Roland Barthes, Theatre, Performance 8. We’ve never met but we may have fought – Simon Bayly and Ira Brand 9. For the Lover(s) of Dramaturgy: on Roland Barthes’ Amateur – Swen Steinhäuser 10. The Disturbance of One System by Another – Claudia Kappenberg 11. Baffling Dramaturgy: Between the Obvious and Obtuse – Mischa Twitchin 12. Choreography, Capturing and Barthes’ Notion of the Punctum – Sandra Parker 13. Body and Mask: Dramaturgies of the Face in Roland Barthes – Michael Bachmann 14. Tracing Barthes’ Eastern Theatres: Empire of Signs and the Staging of Individual Cultural Interpretation – Pamela Genova 15. Unraveling Textual Soundscapes: Reading Barthes’ ‘The Grain of the Voice’ through Söderberg’s Entangled Phrases and Linehan’s Body of Work – Rosa Lambert