unperformable


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As Alison Findlay, Stephanie Hodgson-Wright, and Gweno Williams observe, 'It is mistaken to assume that plays for which we have no production history are unperformable and not even intended for performance'.
We may not yet be living in the future depicted in Gattaca (1997), whose protagonist (played by Ethan Hawke) fakes his blood and hair samples to deceive others about his intentions, but that sci-fi moment does capture an important sociocognitive feature of our world: there is a constant arms race going on between cultural institutions trying to claim some aspects of the body as essential, unfakeable, and intentionality-free, and individuals finding ways to perform even those seemingly unperformable aspects of the body.
One might even call it sentimental, the ultimate and unperformable sin for highbrow readers of literature.
In the last scene of Faust, the unspeakable and the unperformable pass sublimely beyond reason.
Carsen's vision, his clarity, lucidity and understanding of the genre's nature and impact, are representative of the new approach, one that has permitted an operatic genre, thought to be unperformable a generation ago, to be grandly appreciated today.
The tableau, complete with footnotes, is also reminiscent of Coover's unperformable play, "A Theological Position," in which sexual organs function as characters, discoursing on all manner of sexual and theological issues.
Once regarded as ludicrously self-indulgent and virtually unperformable, Mahler's 8 these days is in danger of seeming a repertoire piece.
The "citational legacy" performativity is invested with precedes, constrains and exceeds the performer, disallowing for the moment of choice: "what is performed works to conceal, if not to disavow, what remains opaque, unconscious, unperformable.
He points out that "the European or American poet, who is conditioned to regard poetry as academic or confessional, private and non-commercial, and virtually unperformable and audience-free, could analyze the Festival as 'traditional,' for personal refuge.
Reed provocatively argues, Cervantes' natural tendency toward "novelization" may very well have been a contributing factor in his lack of theatrical success: "Cervantes" extensive use of novelistic elements in his drama may have rendered his entremeses unperformable within the context of contemporaneous theatrical production" (62).
What made Espriu's play unperformable was the political reality of Catalonia in the late 1940s, that entailed a strict censorship, rather than any intrinsic dramatic characteristic or defect.
The boy's rear-end toot matches an unperformable operatic high note.