Notes
1 For a sample case, see Hamilton (2007: 47), who describes a scenario developed from Handke’s
Offending the Audience. Certain forms of Asian theatre are often cited as featuring actors who do
not impersonate.
2 Balme (2008: 4).
3 For a helpful discussion of performing with and without acting, see Kirby (1995).
4 Balme (2008: 55).
5 Annie Dorsen’sHello Hi There(2010) does this, taking as its starting point a conversation
between Chomsky and Foucault.
6 See e.g. Brecht (1964: 79–80). One might wish to say, in such cases, that the actors are the
audience.
7 See Sandford (1995).
8 Bentley (1964: 150).
9 Brook (2008: 11).
10 Grotowski (1969: 15).
11 Balme (2008: 2); see also Lennard and Luckhurst (2002: 2)
12 This is obviously not to deny that there are elements of‘show’or‘performance’in the public
execution–which evidently there frequently are.
13 Woodruff (2008: 18).
14 Wiles (1995: 66). Though obviouslyludiwould not cover all that Woodruff intends with‘theatre’.
15 I discuss Woodruff’s project in more detail in Stern (2013).
16 When performed to an audience, of course, they may count as theatre of a sort; note that
tragedy and comedy were originally categorised as types of poetry.
17 Benjamin (2007: 228).
18 On theatre and embarrassment, see Ridout (2006: 70–95).
19 The notion of‘liveness’is more complicated than it may seem: after all, many theatrical perfor-
mances are highly scripted, pre-planned, rehearsed and so on, which, in one sense, makes them
less‘live’than‘live TV’; so-called‘live’concerts are often pre-recorded. For critical discussion of
the concept of‘liveness’see Auslander (1999).
20 Performance art is a more general term covering all sorts of performances, of course, but the
‘artist’associated with the performance is often a combination of writer, performer, producer
and director.
21 See Balme (2008: 148).
22 Saltz (2001a: 302). The context of Saltz’s remark is a challenge to the idea that giving
interpretations of play texts is a central function of theatrical performances.
23 To give some obvious cases: Chapter 2 discussesmimesis, although some theatre is not mimetic;
Chapter 5 looks at the ethics of acting, although not all performers are‘actors’in this sense.
24 Another historical interaction between theatre and painting was the deliberate recreation of
famous paintings by freezing the actors in the appropriate poses. I have only seen this once: at a
Globe Theatre production ofThe Mysteries, in which Jesus and his disciples posed to recreate Da
Vinci’sThe Last Supper.
25 This is standard practice, for example, in Brockett and Hildy (2010), in which one finds separate
accounts of the drama and theatre in most given historical periods. Note that even so, the choice
as to under which heading to place some person or play can still seem more or less arbitrary and
the two are frequently merged.
26 There are, of course, certain actual laws applying to performances of plays that are still under
copyright, but that is another matter. It is not uncommon for theatrical performances to count
as‘derivative works’, the‘original’being the play text. Permission for directorial decisions such as
cuts, alterations to staging directions, switching the genders of the characters and so on must
often be sought in writing before performance.
27 See Hamilton (2007: 41–50) for an extremely helpful set of examples, using the text ofHedda Gabler.
28 Saltz (1995: 267). Saltz goes on to put forward a theory of whatHamletthe play is; play texts have
only a small role, according to him, in identifying which play is being performed on a given occasion.What is theatre? 17