By J.B. Priestley
The Heinemann performs sequence bargains modern drama and vintage performs in sturdy school room variants. during this play an inspector interrupts a celebration to enquire a girl's suicide, and implicates all the party-makers in her loss of life.
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Extra info for An Inspector Calls
Perhaps this indicates that participation and spectatorship were in tension with each other, in that a shared somatic experience (vibration) was coupled with a freedom to gaze on the scene however they wished. Even so, it seems clear that the former produced a common process of reaction as all four groups comment on the strong effects of the scene. The combination of individual interpretation, binary-based inquiry, and common reaction to effect points to a paradox of “shared diversity” which is unexceptional in live performance.
W. Norton, 1992). 23. , 27. 24. , Art in Theory 1900–1990: An Anthology of Changing Ideas (Oxford: Blackwell, 1992), 130–5. 25. Ranci`ere, Disagreement, passim. 26. , 102. 27. In addition to the work of Tino Sehgal discussed here, one might consider recent performances by Kinkaleri (I Cenci: Spettacolo, 2004), Via Negativa (More, 2003) and Soc`ıetas Raffaello Sanzio (Tragedia Endogonidia, 2002–4). 28. Tino Sehgal, This Progress, Institute of Contemporary Arts, London, 2006. 29. Peter Hallward, “Staging Equality: On Ranci`ere’s Theatrocracy,” New Left Review 37 (January–February 2006), 122.
11. , 10, fn. 20. 21 nicholas ridout 12. 2 (Summer 2002), 145. 13. Theodor Adorno and Max Horkheimer, The Dialectic of Enlightenment, ed. and trans. John Cumming (London and New York: Verso, 1997). 14. See Jean-Luc Nancy, The Inoperative Community, ed. and trans. Peter Connor et al. (Minneapolis and London: University of Minnesota Press, 1991); Maurice Blanchot, The Unavowable Community, trans. P. Joris (Barrytown: Station Hill Press, 2006); and Giorgio Agamben, The Coming Community, trans. Michael Hardt (Minneapolis: University of Minnesota Press, 1993).