Titlebook: Jean Genet: Performance and Politics; Clare Finburgh (Lecturer in Modern Drama),Carl Lav Book 2006 Palgrave Macmillan, a division of Macmi

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Jean Genet in His ‘Humour’ it precisely because of the indeterminacy they give to it.’. But the French do not really give the word indeterminacy, since indeterminacy belongs to the word itself: humour hovers somewhere between sarcasm, irony, satire, mockery, allusion, antiphrasis, whim, jest, witticism, pun and caricature. I

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Genet’s , as Media Allegoryrk in the text, which is focused on mass media technology and consumerism. In order to explore this important, though neglected, relationship, this essay rethinks Genet’s final play in the social and historical context of a post-war France grappling with the twin forces of decolonization and rapid m

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‘Micro-treatise on a Mini-politics’: Genet, Individualism and Collectivitycrity is in the ascendant’, writes Genet in his political and aesthetic autobiography, . (1992, p. 49). Respecting norms and rules engenders a life of mediocrity. ‘Tradition? Inertia? Perhaps they’re the same’, he writes (ibid., p. 123). Preserving the status quo results in sclerotic inactivity. Gen

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Theatre in a Graveyard: Site-based Performance and the Revolution of Everyday Lifem. For readers who have adopted this methodology, the significance of plays like . and . does not reside in any obvious or coherent political message they may offer, but rather in the way they deconstruct identity, highlight performativity and release the anarchic play of the signifier.’ While much

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Dancing the Impossible: Kazuo Ohno, Lindsay Kemp and ,arde dance practitioners. In Japan and in Great Britain in the 1960s and 1970s, two seminal works based on Genet’s novel appeared: Tatsumi Hijikata and Kazuo Ohno’s . in 1960, which was reworked into . in 1977, and Lindsay Kemp’s ., performed between 1968 and 1974. The word seminal, with its etymolo