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The chapter describes the transitive notion of embodied memory encapsulated in Yuyachkani, the noted Peruvian commentator Hugo Salazar del Alcazar wrote in one of his many pieces on the Yuyachkani theater group. The reciprocity and mutual constructedness that links the I and the you is not a shared or negotiated identity politics. In adopting the Quechua name, the predominantly white Spanish-speaking group signals its cultural engagement with indigenous and mestizo populations and with complex, transcultured ways of knowing, thinking, remembering. Yuyachkani, by its very name, introduces itself as a product of a history of ethnic coexistence. Its self-naming is a performative declarative announcing its belief that social memory links and implicates communities in the transitive mode of subject formation. The repertoire, on the other hand, stores embodied memory in short, all those acts usually thought of as ephemeral, non-reproducible knowledge. Unlike archival knowledge and memory, the thing does not remain the same. Certainly it is true that individual instances of performances disappear, and can never be captured or transmitted through the archive. Innumerable practices in the most literate societies still require both an archival and embodied dimension. The legality of a court decision lies in the combination of the live trial and the recorded outcome.

The chapter focuses on the reality of the virtual organization emerAgency created at the point of reception. The tradition of the oppressed teaches the state of emergency in which we live is not the exception but the rule. One reason why Fascism has a chance is that in the name of progress its opponents treat it as a historical norm. The very nature of the name indicates an important feature of method. Fools lament the decay of criticism. Criticism is a matter of correct distancing. It was at home in a world where perspectives and prospects counted and where it was still possible to take a standpoint. Now things press too closely on human society. The unclouded, innocent eye has become a lie, perhaps the whole naive mode of expression sheer incompetence. In emerAgent consulting it is not that the neon effect replaces critical reason, but that reason and neon merge in a hybrid modality. A commentator has explained the fit between the material and the theoretical information, between the neon tube and the concept of the subject in Lacanian psychoanalysis. Transference refers to any experience from the past reactivated in the present relationship between analyst and analysand during psychoanalytic treatment.

The chapter outlines the contradictory currents in the cultural dynamics of multi-racist Britain at their point of intersection with contemporary British performance practice. It tentatively seeks to engage with the specific temporalities and geographies that mark its subject out as a little local difficulty without shying away from more global issues. In particular, it is concerned to pursue the links connecting white racial fantasies and racist identities with psychoanalytic conceptions of subjectivity. By tracing the interplay of dominant, residual and emergent discursive currents in a precise historical event cum moment, the paper endeavours to sketch an image of this process in process. It is in this temporal territory that it seeks to situate the work of performance, as an economy in which fantasies circulate, histories exchange and ethics revaluate. Distance collapses as the psychic dynamics of the spectatorial relation become literalised in a physical sensation, reproducing ideology at the level of the experience of the body. The psychoanalytic account of the way the fiction of the bodily subject is sustained through the theatrical illusion of The Mirror Stage takes place within the playing space of this specifically political visual economy.

The chapter examines how the conditions of the individual's emergence as a subject and its relation to performances, on stage and off. If gender is among the founding interpellations of the subject, it also bears repeating. The call to gender is made not just once, but across a lifetime. Crucially, gender is also an obviousness that the subject cannot fail to be recognizable to without becoming liable to sanction, even unto death. Tendentious jokes make possible the satisfaction of an instinct in the face of an obstacle that stands in the way. Barred pleasure in one place, the sexual speech changes course, it will seek its pleasure in the responses of the woman addressed. These responses may well include agitation and upset, but this is no bar to the man's pleasure. Psychologist Sigmund Freud observes that the sexual aggressiveness of the man's verbal ripostes will alter in character in the face of the woman's objections. Faced with the woman's resistance, the ideal circumstance is one in which another man happens on the scene. The obstacle standing in the way is in reality nothing other than women's incapacity to tolerate undisguised sexuality, an incapacity correspondingly increased with a rise in the educational and social level. The woman who is thought of as having been present in the initial situation is afterwards retained as though she were still present, or in her absence her influence still has an intimidating effect on the men.

The chapter examines the dynamic violation of bodily integrity promoted by technophilic Futurists and its correlation with metapsychology. The relationship of body to language, body to agency is precisely at issue in psychologist Sigmund Freud's metapsychological papers. Freud emphasizes the constant internal motor activity of human drives or instincts, while stressing their dynamism and variability. Freud claims that the accumulation of waves with their modifications or vicissitudes will present the picture of a definite development. Freudian and Futurist discourse and practice undermine all pretenses to a psychic apparatus, an ego, in control of its boundaries or distinct from its surround. The Freudian body of the metapsychological papers also loses its apparent integrity and singularity. Its regulative mental apparatus contends constantly with disturbing pressures and excitations from internal drives, as well as external stimuli. Desire of the image, identification with the image, are impulses whose aim is clear, but whose source remains as unknowable in a political woman as it is in the most influential of medical myth-makers or in an avant-garde movement soon to be associated with Fascism.

The chapter examines the placebo effect brought about by performance and psychoanalysis. Despite transgressive signs to the contrary, both in their own ways seek to please, to be acceptable and both are characterised by their psychological rather than their physiological effects. Seeking medical authority and the status of treatment, psychoanalysis might be reminded of its debt to a performance tradition. The senses in which psychoanalysis was in its earliest manifestations already and always performance might illustrate ways in which the and in psychoanalysis and performance can operate more critically. The performative quality of all seeing is in fact a problem in the phenomenology of perception which has very distinct historical traces that are all about reproduction as well as representation. The theatricality of the talking cure, its performative origins in mystic speech, the confessional apparatus, possession and exorcism, have long been noted by commentators seeking to disturb the originary myth of Freudian analysis. These borrowings from the regime of signs associated with performance do nothing to destabilise the efficacy of the cure itself nor do they intimate that the mad business is show business.

The chapter focuses on Freudian metapsychology when speculating analytically upon performance, play and the responsibilities of analysis. The information provided by psycho-analyses appears to restore the supporting arms of a responsible adult, to underwrite childish pleasure with at least a rhetorical guarantee, but does so at the level of a speculative writing that may find itself infected by the same anxiety that it seeks to negotiate and even conquer. The ethical tension may appear to give rise to the production of a writerly performance that is at the same time disinterested and all-consuming, a writing that performs like a virus. Either the drama and its staging were obviously articulating processes and structures that could only be best described as psychoanalytic, or else my own interpellation into this or that discourse of psychoanalytic theory had brought me to only be able to articulate my responses in such terms. It is as if analysis itself must sustain an ethics of performance, operating in the delay between the leap and the look, in the distance between risk and rigour. In its own performance analysis may be caught between a responsibility towards its object, a selfless care to support the object in its alterity and an inclination nevertheless to get better acquainted, to make an investment and draw the object into the horizon of a self-understanding.

The chapter describes the post-modern theory of post-modern melancholia inherent in living-room theatre. The loss of certainty and location seems to be much implicated in the increase of what many critical theorists have begun to recognise as a peculiarly post-modern sense of Melancholia. Melancholy is the quality inherent in the mode of disappearance of meaning. The realisation allows the slow and painful withdrawal of the libido cathected to it, which restores the subject's mental equilibrium. Melancholia, on the other hand, is a pathological condition resulting from the inability to mourn an unidentified loss. In its post-modern variant it means that the work of mourning can never be completed because the process of losing a loved object or a cherished idea is itself infinite. The periodic oscillation between the two states, producing the psychotic syndrome of manic-depression, could lead to a perpetual failure to deal with the world in rational terms, meaning, among other things, the inability to acknowledge the separateness of self and other. It hardly requires a leap of the imagination to picture the claustrophobe's response as manic activity a squeezing together of the eyes, a curling into a tight embryonic ball, a cessation of all movement to ward against the danger of dissolution.

The chapter discusses the issue of cloning as an invitation to revisit concerns about time and repetition as highlighted in theater. The embryo, and resultant lamb, was the exact replica of the embryo and resultant lamb that formed the first cloned sheep named Dolly. The history of Western theater is packed across the first millennium with antitheatrical sentiment. Though the gesture of reducing such a volume of anxiety to a sentence bears a kind of Artaudian violence, it is possible to argue that this fear concerns the threatening potential of the seeming Second to unseat the prerogatives of the First. The cultural fear of mimesis is a fear of indiscreet origins. Through the first second coming of the clone, as through the much earlier birth of psychoanalysis's performative repetition. Though clones had been created before, they had always been created from embryos. Clone style, overt and carefully manipulated signatures of macho affective and behavioral patterns, threateningly outed masculinity as constructed, as masquerade, as given to the indiscretions of performativity and mimesis, as imbricated in class politics and as appropriable. Clones were the signature of post-closet pride until the mid-1980s when the virulence of clonal lifestyle came under panicked attack as the cause of AIDS.

The chapter examines the desublimation of the ventriloquial metaphor, in order to disclose and examine some of the more primary corporeal processes involved in the disembodying and re-embodying of the voice in performance. There is another way of thinking of the meanings of ventriloquism, by means of a somewhat less abstract and less immediately moralissing approach to the voice. With the fantasy of sonorous omnipotence, another aspect of the voice develops. As well as being the power of emanation, the voice comes to be experienced as something produced. The infant's first cries vitalised and animated the world, surging out of inert objecthood and resisting the relapse into it. The more conscious exercise of control over the voice and therefore over the world through the voice, begins to form, out of the generalised power of emanation, vocal precipitates or emissions. At this point in its development, the infant's capacity to produce or project power may exceed its capacity to receive or acknowledge that power as its own. The voices of appeal, threat or raging demand of the child produce a sense of sadistic mastery, which both produces an object of its own, and makes the world temporarily an object. But the voice is also the voice of the infant's suffering and need. When the cry does not bring instant relief, it becomes itself the symbol of unsatisfied desire, even the agency of the frustration of this desire.

The chapter focuses on the relationship between psychotherapy and the rehearsal process. Somehow it heralds the potential co-opting of radical cultural activity under the dreary aegis of encounter group process or paratheatrical pseudo-ritual. Were it psychoanalysis and rehearsal, it might have a different feel, might offer us the hope of something of import arising from the deployment of the complexities of analytic theory in relation to that curiously secretive, relatively unarticulated domain that is rehearsal. Psychoanalysis as a term connotes, power, authority, intricacy and elegance. And yet, in dealing with practice and process, the term psychotherapy seems the most appropriate to denote the eclectic range of activities currently on offer for effecting psychological and behavioural change. It serves to highlight the fact that both psychoanalysis and the psychotherapies, like rehearsal, continue as actual on-going encounters between individuals in small rooms. The parallels with psychotherapy are unavoidable in the domain of making performance, the mystique of the creative process, the quasi-religious secrets of the rehearsal room, the closed film set for those key intimate scenes, the tantrums and the tears. Rehearsal is concerned with the notion of preparation, usually the preparation of an event that will eventually be witnessed by an audience.

The article focuses on the digital Poles of performance and psychoanalysis. To the contemporary performance, film provided the means for a welcome deformation of the visual apparatus. It was around the same moment, when the allure of technology was capturing the imagination of early twentieth-century culture. In adopting a telephonic metaphor for the practice of psychoanalysis, Sigmund Freud rearticulates the structures of reception he had previously established for the study of dramatic character types through which the derivatives of a character's unconscious continue to transmit to twentieth-century audiences. His readings of the poetic hallucinations, paranoias, and repressions of Shakespearean tragedy inform both his understanding of the form of psychic life and how modern viewers respond telephonically to the symbolic traumas of the Oedipal drama. By so diminishing the many tensions of this male-to-male dance and by desexualizing its erotic exhibition, critics and directors have enshrouded it in nothing short of the language of sublimation. Desexualization means dematerialization and dematerialization is synonymous with idealization. The work of digital scansion in these pieces has gone so far as to eradicate the performing body by replacing it with ghostly figures representative of what could not have been inscribed in performance prior to the new technological moment.

The chapter examines the many discourses of consciousness that appeared and haunted by the unconscious specifically through the appearance and disappearances of the theatrical within discourses. The theater as both concept and theoretical category is both crucial to and far more consonant with the movements of psychoanalysis and consciousness than many of the current rubrics of performance and the performative. As a dramatic moment, the scene of displacement certainly seems the turning point, the fulcrum upon which all else balances: the power shifts, the seemingly lightening-quick transferences of desire, domination and violence that characterize the play. The invocation to language as one source of the problem in understanding consciousness, and the subsequent deflection of the discussion of language into an oddly positivist notion of the transparency of language. But while all of the off-scene stuff is presumably not happening, other peasants arrive and perform the real ballet, a kind of lurid fertility dance or satyr-play of bawdy and intoxicated Dionysian ecstasy representing or rather displacing the other imaginary action, the metaphoric and metonymic scene covering up the scene that never appears, a replay of sexual gaming, domination and deceit occurring elsewhere, an elsewhere forever deferred, never realized

The article focuses on the limits of performance and its relation to psychoanalysism where the accretions of the subject's symptoms may push things to the limit. Indeed it is at bottom a sublimated offshoot of the instinct for mastery exalted into something intellectual and its repudiation in the form of doubt plays a large part in the picture of obsessional neurosis. As depth acceded to surface in an age of the antiaesthetic, a developing jaundice about the inner life had its correlative of suspicion in the outer world of appearance, which, if not always what it appears to be or only a shadow of it, was fetishized in the Oedipal drama because of the shadow's shadow. It would seem that acting in the theater is a somewhat tamer game, but at the extremities of performance. If the harrowing realism of it depends on a prior teamwork of actors, crew, editors, stunt men, and wizards of special effects, what is achieved by camera and cutting is unavailable to the theater, whose teamwork always returns to the susceptible thing itself, the unaccommodated body that at any performative moment may really lose control, as in something so elemental as a case of stage fright. It should be apparent, though it is not, that while it may be superbly sublimated, stage fright is the latency of any performance, as it is there in the batter's box or down in the sprinter's crouch, or even in the supposed privacy of the analytic encounter, where the patient forgets the dream or stutters through made-up experience or, in a seizure of dislocation, is made speechless by the uncanny.

The article examines the connections between psychoanalysis and performance in a systematic way. In making the hidden visible, the latent manifest, in laying bare the interior landscape of the mind and its fears and desires through a range of signifying practices, psychoanalytic processes are endemic to the performing arts. Similarly, the logic of performance infuses psychoanalytic thinking, from the acting out of hysteria to the family romance of desire. Amongst the most significant contributions to the development of this theory is André Green's formulation of the dynamics of the tragic effect. Whilst cautioning against both a reductive conflation of author and artwork and an over-generalisation of psychoanalytic interpretative strategies, Green recognizes in all the products of mankind the traces of the conflicts of the unconscious. He specifically characterises performance as occupying a transitional position in mediating between the individual and the social, making possible the displacements of sublimation that commute neurosis into theatrical pleasure. Of course, staged activities not only provide a link with quotidian life, but also with the cloistered environment of the consulting room.

The article discusses about the tragic and much talked about death of the Princess of Wales, Diana. As Diana disappeared into the underpass between life and death, her image re-emerged from the other side more powerfully radiant than ever before. Her famous face haunted every frame of media coverage thereafter, as if the spectra of Diana was returning from the beyond to articulate a demand for justice that went way beyond the need for a right and proper response to her death. The Diana who inhabited the spectral economy of media speculation surrounding the events of her death appeared to articulate with great clarity the spectra's long familiar injunction remember to learn and to live ethically. there was always the possibility that this was a phantom rhetoric originating from that phantasmatic space between life and death where nothing is ever what it appears to be, just another structuring illusion from the sententious repertoire that always feigns to speak like the just.

The article recounts the events leading to the tragic death of Princess of Wales Diana. In the early hours of 31 August 1997, the car transporting Diana Princess of Wales, millionaire Dodi Al Fayed, Henri Paul and Trevor Rhys Jones crashed into the wall of an underpass, killing the first three and seriously wounding the fourth. This fatal crash occurred during their high-speed flight from the paparazzi of the world press. In the aftermath of this accident an escalating series of incidents catapulted the death of Diana into a worldwide event. For instance, regular broadcasting schedules were disrupted, and in Great Britain they were virtually suspended as the news of Diana's death was announced across the globe. Crowds began to assemble in public demonstrations of mourning outside royal palaces and in common spaces. The media, struggling to produce coherent accounts of these deaths and of the growing scale of response to them, focused on and thereby created mourning Diana as both public spectacle and spectacular media event.

The article discusses the purpose of the book Psychoanalysis and Performance by Patrick Campbell and Adrian Kear. The more modest project of this book is to deploy a similarly contingent strategy in exploring a range of connections between psychoanalysis and performance, both as concrete historical practices and as conceptual modes of enquiry. Its aim is both to bear witness to their generative inter penetration and to open up new spaces of exchange between them. Hence, the book is not primarily concerned with the psychoanalytical study of performance, rather, it seeks to situate performance and psychoanalysis within a dialogical framework that speaks to the affiliations and correspondences between the two fields. The methodological moves it makes to bring about this encounter are multiple, from returning performance to its proper place within the psychoanalytic scene, to tracing the psychodynamics of the rehearsal process, to foregrounding the political and ethical imperatives embedded within psychic and social performatives. The book comprises a series of original, commissioned essays by authors with some of the most distinctive critical voices in the discipline. Each one attempts to articulate and address problematics and thematics made available by linking together psychoanalysis and performance, and each author stages their own points of departure and arrival accordingly.

The article presents the preface to the book "Mourning Diana." According to the author, "Mourning Diana" is an attempt to respond to the critical imperatives and renewed perspectives of hindsight. The collection comprises a range of intersecting approaches and interdisciplinary frameworks in order to unpack the complexities of the Diana events. The book aims to elucidate the seemingly dramatic cultural changes and subtextual recuperations emergent in the enactment of mourning of Princess of Wales Diana. It considers the distinctive ways in which loss, mourning and popular spectacle mediate the reformation of common senses and social relations. In particular, this collection of essays emphasizes the performativity of grief and loss in the reconstruction of cultural identities and political hegemony. The volume is structured around a number of interrelated thematic currents. The first is what might be termed mobilized mourning in which the Diana events are examined as cultural-political phenomena, emphasizing their role in the reconstitution of political affiliations and ideological formations.

Acknowledges contributors to the book "Psychoanalysis and Performance," by Patrick Campbell and Andrian Kear.

The article focuses on the study of psychoanalysis as a method for looking at texts. The arguments are based on the dual principle that psychoanalysis can provide a productive framework for understanding the work of performance and that performance itself can help to investigate the problematic of identity.

The article presents an introduction to various chapters of the book "Mourning Diana." examines the events which followed the death of Princess of Wales Diana, on 31 August 1997, as a series of cultural and political phenomena, mediated through popular narrative and social performance. It further explores the distinctive ways that "mass mourning" and the spectacle of public grief appeared to witness dramatic shifts in power relations, political affiliations, and cultural identities. The various chapters investigate the complex iconic status of Princess Diana as a spectral figure able to sustain a host of alternative identifications. The contributors in this book argue that the mourning of Diana dramatized a complex set of cultural processes in which the borders dividing nationhood and citizenship, charity and activism, social dispossession and royal privilege, private feeling and public politics were sharply contested and yet ultimately reaffirmed.