| Abstrakt: |
This paper examines some aspects of the application of the sciences of complexity to theatre, specifically recent British performance (1988 to 1991). The operator is the demon, used as a device with which to challenge theorizations of performance as text, and as a means of arriving at an ‘unwritten’ pragmatics of creativity in performance. This involves figuring theatre as event-series and flux, and using the new naturalism of the sciences of complexity to redefine the structuration of such series and flows as characters of performance. [ABSTRACT FROM AUTHOR] |
