Jennifer Stephenson – författare

In Performing Autobiography, Jenn Stephenson presents an innovative new approach to autobiography studies that links the growing field of research to drama. Stephenson’s analysis engages with performance histories to demonstrate the extent to which the dramatic form, which recasts autobiography as ambiguously fictive, ensures that the experience of the plays remains open to revision, alteration, and interpretation. As such, Performing Autobiography understands this form not to be the impossible documentation of the backward-looking narrative of one’s life, but rather an evolving process of self-creation and transformation.Stephenson explores the autobiographical form by analysing seven works by Canadian playwrights written and performed between 1999 and 2009, including Judith Thompson’s Perfect Pie, Daniel MacIvor’s In On It, and Timothy Findley’s Shadows. Her analysis encourages us to see autobiography as a uniquely political act, one that, where enacted on stage, illustrates the variety of ways that self-reflection and interpretation has an expanding role in contemporary culture.

The early years of the twenty-first century have witnessed a proliferation of non-fiction, reality-based performance genres, including documentary and verbatim theatre, site-specific theatre, autobiographical theatre, and immersive theatre. Insecurity: Perils and Products of Theatres of the Real begins with the premise that although the inclusion of real objects and real words on the stage would ostensibly seem to increase the epistemological security and documentary truth-value of the presentation, in fact the opposite is the case.Contemporary audiences are caught between a desire for authenticity and immediacy of connection to a person, place, or experience, and the conditions of our postmodern world that render our lives insecure. The same conditions that underpin our yearning for authenticity thwart access to an impossible real. As a result of the instability of social reality, the audience, Jenn Stephenson explains, is unable to trust the mechanisms of theatricality. The by-product of theatres of the real in the age of post-reality is insecurity.