By J. Parker-Starbuck
This booklet articulates the 1st theoretical context for a 'cyborg theatre,' metaphorically integrating on-stage our bodies with the technologized, digitized, or mediatized, to re-imagine subjectivity for a post-human age. It covers quite a few examples, to suggest new theoretical instruments for figuring out functionality in our altering global.
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Additional info for Cyborg Theatre: Corporeal Technological Intersections in Multimedia Performance (Performance Interventions)
These histories, both in science and science fiction, represent variations of largely masculinist appropriations and fearful imaginings of cyborgs. Tracing fears and anxieties emanating from cultural technological encroachment, these histories often result in the positioning of cyborg figures as feminized others. Turning toward more recent cinematic/televisual examples, these “others” begin to be imagined with increasing agency, pointing towards the possibilities of the cyborg form. ” “Part Two: BACK and Forth” develops the taxonomy through which I identify cyborg theatre practices.
Tracing fears and anxieties emanating from cultural technological encroachment, these histories often result in the positioning of cyborg figures as feminized others. Turning toward more recent cinematic/televisual examples, these “others” begin to be imagined with increasing agency, pointing towards the possibilities of the cyborg form. ” “Part Two: BACK and Forth” develops the taxonomy through which I identify cyborg theatre practices. Developed out of a need to return to framings that have historically (and problematically) defined bodies as abject, object, and subject, I argue that when integrated and reimagined with technological “subjects” these concepts offer necessary and productive sites through which to retrace, reiterate, problematize, and refigure these corporeal conceptions towards cyborg subjectivity.
Although representations of a human-technological balance through an “other” to be controlled continues through much of the early twentieth century, they slowly give way to characters resisting this mold and to technologies representing themselves on stage. Romanticized mythologies begin to be replaced by growing anxieties as machines replace human labor; the next examples see women replaced, first by the doubled woman/robotic-woman, then humanoid robots themselves, and then by machinery itself.