Hostname: page-component-586b7cd67f-dsjbd Total loading time: 0 Render date: 2024-11-24T15:12:16.823Z Has data issue: false hasContentIssue false

Holding a Mirror Up to Theatre

Milo Rau’s La Reprise: Histoire(s) du théâtre (I)

Published online by Cambridge University Press:  18 March 2021

Abstract

Swiss director Milo Rau holds a mirror up to theatre to call into question its assumptions, conventions, and relationship to daily life. Rau’s nonfictional story of the murder of Ihsane Jarfi takes place within two overarching narratives with different timeframes—what happens on the stage now, and what happened beyond the stage then. His dramaturgy cautions against both suspension of disbelief and catharsis and against confusing the fictional with the real.

Type
Article
Copyright
© The Author(s) 2021. Published by Cambridge University Press for Tisch School of the Arts/NYU

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

References

Arendt, Hannah. 1963. “Eichmann in Jerusalem.” The New Yorker, 9 February. Accessed 17 September 2020. www.newyorker.com/magazine/1963/02/16/eichmann-in-jerusalem-i.Google Scholar
Fisher, Mark. 2019. “Making a Murder: True-Crime Stage Show Recreates a Shocking Killing.” The Guardian, 9 July. Accessed 18 October 2019. www.theguardian.com/stage/2019/jul/09/milo-rau-true-crime-murder-edinburgh.Google Scholar
Martin, Carol. 2014. “Table on Stage: The Rise of the Messenger.” In Performance Studies in Motion: International Perspectives and Practices in the Twenty-First Century, ed. Citron, Atay, Aronson-Lehavi, Sharon, and Zerbib, David, 6174. London: Bloomsbury.Google Scholar
Meyrick, Julian. 2019. “La Reprise: Startling Theatre and a Call to the Dead to Speak.” The Conversation, 6 March. Accessed 15 October 2019. http://theconversation.com/la-reprise-startling-theatre-and -a-call-to-the-dead-to-speak-113032.Google Scholar
Rau, Milo. 2015. “Pussy Riot’s Moscow Trials: Restaging Political Protest and Juridical Metaperformance.” In Anthropology, Theatre, and Development: The Transformative Potential of Performance, ed. Flynn, Alex and Tinius, Jonas, 279–85. London: Palgrave Macmillan.Google Scholar
Rau, Milo. 2018. “Ghent Manifesto.” 1 May. Accessed 10 July 2020. www.ntgent.be/en/manifest.Google Scholar
Rau, Milo. 2021. La Reprise: Histoire(s) du théâtre (I). TDR 65, 1 (T249):4053.Google Scholar
Snyder, Timothy. 2017. On Tyranny: Twenty Lessons from the Twentieth Century. New York: Tim Duggan Books.Google Scholar
Szymborska, Wislawa. (1972) 1995. “Theatre Impressions.” In View with a Grain of Sand: Selected Poems, trans. Baranczak, Stanislaw and Cavanagh, Clare, 6768. New York: Harcourt Brace.Google Scholar

TDReading

Rau, Milo, and Wolters, Nina. 2014. “What Is to Be Done?TDR 58, 1 (T221):23. https://doi-org/10.1162 /DRAM_a_00620.CrossRefGoogle Scholar
Dine, Debra. 2017. “Not Just Adult Entertainment: Milo Rau and CAMPO’s Collaborative Five Easy Pieces TDR 61, 4 (T236):147155. https://doi-org/10.1162/DRAM_a_00699.Google Scholar