Abstract

Assemblage theory provides a framework for registering the active roles played by nonhuman entities in the creation of theatrical events. In particular, it enables a greater appreciation of how technical and other theatrical production elements inform performance analysis. In the Wooster Group’s House/Lights, people and things make equal attentional demands upon the audience; appropriately, a documentary on installing the production makes this most apparent. Additionally, the National Theatre’s Frankenstein performs these animating forces as a theatrical virtue.

This content is only available as a PDF.
You do not currently have access to this content.