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‘It’s all real. All of it. Everything bad is real’ - Moe
Alistair McDowall’s Pomona was first staged in 2014 and won properly startling, and startled, acclaim. Its edgeland setting permits a surrealistic disengagement of linear forms of time, which is both dreamlike and wildly funny; nightmarish and ominously enveloping. The play has as its imaginative springboard a landscape which is both real and surreal. It offers an unforgettable journey into radical uncertainty, alongside unpredictable action that presents and questions the forms by which all too much of British life is lived.
Rabey offers us a wild plunge into this modern English urban rabbit hole, a haunting and bewildering high-stakes hunt for meaning and value, set in a gothic noir Manchester, possibly dystopian (or possibly not).
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‘It’s all real. All of it. Everything bad is real’ - Moe
Alistair McDowall’s Pomona was first staged in 2014 and won properly startling, and startled, acclaim. Its edgeland setting permits a surrealistic disengagement of linear forms of time, which is both dreamlike and wildly funny; nightmarish and ominously enveloping. The play has as its imaginative springboard a landscape which is both real and surreal. It offers an unforgettable journey into radical uncertainty, alongside unpredictable action that presents and questions the forms by which all too much of British life is lived.
Rabey offers us a wild plunge into this modern English urban rabbit hole, a haunting and bewildering high-stakes hunt for meaning and value, set in a gothic noir Manchester, possibly dystopian (or possibly not).
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Theatre, Time and Temporality is the first book-length exploration of the subject of temporality within theatre and performance. David Ian Rabey brings in sources ranging from medieval and Renaissance theatre to contemporary performances – in addition to recent writings from physics, philosophy and psychology – to analyse ways that time can be presented, communicated and transformed in the theatre. How do we experience time in theatre, and how can that experience be altered or manipulated? Rabey’s analysis and exploration will spark discussion among students and scholars of drama, as well as among practicing performers and dramatic writers.
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Theatre, Time and Temporality is the first book-length exploration of the subject of temporality within theatre and performance. David Ian Rabey brings in sources ranging from medieval and Renaissance theatre to contemporary performances – in addition to recent writings from physics, philosophy and psychology – to analyse ways that time can be presented, communicated and transformed in the theatre. How do we experience time in theatre, and how can that experience be altered or manipulated? Rabey’s analysis and exploration will spark discussion among students and scholars of drama, as well as among practicing performers and dramatic writers.
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