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Theron Schmidt, The University of New South Wales, School of Arts and Media, Faculty Member. Theron Schmidt works internationally as a writer, teacher, and performer. necro-politics, from analytical philosophies of naming to continental philosophies of territorialized flows, What is contested in McBride's Arena?.
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For various reasons, they were unable to do so and instead displayed printouts selected from a year of correspondence in which the bulk of activity was undertaken by relatively anonymous members of curatorial and technical staff. Or in Quarantine's theatre piece Entitled , technicians carry out the actions they would normally undertake during the day before an audience arrives, but, now that an audience is present, they narrate their actions as they perform them.

However, drawing on Alice Rayner's reading of Derrida and Marx and John Roberts' arguments about the logic of the readymade, I argue that the usefulness of the staging of labour in this way is not in the way that it presents some authentic action that overcomes theatre's artifice, but instead in the peculiar failure of theatrical actions to be fully present.

In the US, evangelical Christian communities stage promenade-theatre Hell Houses as a way to depict the consequences of what they regard as sinful behaviour and to encourage fundraising and re-affirmations of faith. In , Back to Back But the theatre event itself is more complicated, involving a series of leaps of identification and complex relationships of insider and outsider.

Christoph Schlingensief and the Bad Spectacle more.


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And above all, one might say that the image Schlingensief most disrupts is that of the public sphere itself. Communities of infection more. Barbican, , pp. Apology, the Law and Theatricality more. When ideas about theatre are used to describe political events, the theatrical is usually made to stand for that which is undesirable, inauthentic and empty about political life: My approach here is to consider certain problems of speech and gesture in the political realm as essentially theatrical problems — problems for theatre, but also ideas that theatricality makes problems of — such as problems of representation, authenticity and spectatorship.

I will explore the theatricality at work in three examples of publicly performed discourse: This Is Happening in Real Time: Dance Theatre Journal Performance Studies , Performative Writing , and Screendance. Richard Maxwell and the Paradox of Theatre more. Monuments, Theatre, and Relational Space more. This article explores the ways in which theatrical techniques might intervene in the representational operations of monuments.

As illustrated by the controversy surrounding nearly every aspect of the memorial to the destroyed World Trade As illustrated by the controversy surrounding nearly every aspect of the memorial to the destroyed World Trade Center, monumentality implies a finality of meaning and an unavailability of monumental spaces to open and fluctuating meanings.

Henri Lefebvre's distinction between 'representations of space' and 'representational space' suggests a method for unsettling or rewriting these meanings, which Joanne Tompkins develops as an analytical tool in her consideration of contemporary Australian theatre. However, Tinderbox Theatre Company's production of convictions in a decommissioned courthouse in Belfast demonstrates that theatrical representations may have the effect of displacing previous spatial practices, but they also have their own authorizing norms and associated codes of meaning and behaviour.

Using Doreen Massey's concept of 'relational space' to augment Lefebvre's categories, a set of criteria can be articulated for counter-monumental theatre that is attentive to the politics of openness and closure.

And While London Burns, a downloadable audio tour of the financial centre of London produced by John Jordan and PLATFORM, is used as an example of a theatrical event which creates relational spaces that intervene within the normative mechanisms both of corporate organization of urban space and of dramatic narrative. Concluding by co-opting Wren's Monument, And While London Burns asks its participants to rethink identity in spatial terms, and the author argues that this spatial awareness in turn necessitates an awareness of relationality which is relevant to both theatre and politics.

Lone Twin Times Two more. Winchester University Publication Date: Jan 1, Publication Name: Scenes from the Future of the Image more. Goldsmiths University of London Event Date: Jan 28, Organization: Goldsmiths Performance Research Seminar. The life and times of the Nature Theater of Oklahoma more. The theatre is a strange place to seek an escape from alienated labour, given its long association with dynamics of abstraction, representation, and reproduction. One possible approach was tendered in the task-based procedures of Brunel University, London Event Date: Oct 15, Organization: Brunel Performance Research Seminar.

Who not will else let slip, a fist raised afore a fire? A dim shape, an in-between light, a tongue too heavy to lift. In other algorithms the pixels are quantized step-wise with error correction after each step. As a continuation of my Drawing on political events, theatrical descriptions, and daily ephemera, I ask, what is it that moves us to act? Jun 30, Conference Start Date: In the US, evangelical Christian communities stage promenade-theatre Hell Houses as a way to depict the consequences of what they regard as sinful behaviour and to encourage re-affirmation of faith and fundraising.

Back to Back Theatre But the theatre event itself was more complicated, involving a series of leaps of identification and complex relationships of insider and outsider. Oct 31, Organization: New Adventures in Publishing more. New Adventures in Publishing will explore recent developments around Live Art publishing and distribution. The context for this roundtable discussion includes recent shifts in cultural commentary and critical discourse by artists and The context for this roundtable discussion includes recent shifts in cultural commentary and critical discourse by artists and writers; and extraordinary advances in technologies.

Jul 1, Conference Start Date: This paper explores what might be at stake when art or performance exposes the apparently peripheral structures of labour that support the art-event. Whereas such exposure could be understood as a form of institutional critique, in which the otherwise invisible labour of administrative and technical support is re-valued, it might also be seen as doubly commodifying that same labour. In this form, the work is partly about the normally hidden labour that underlies the production of artistic value, and the way in which celebrated artists and curators derive surplus value from the waged labour of those working for them.

But it also reproduces the extraction of surplus value from that same labour. Back to Back Theatre and the politics of appearance more. Sep 23, Conference Start Date: Jul 11, Conference Start Date: Un-desiring the Real more. In appraising these theatrical experiences, what is the appeal of describing them as being close to reality, or heightened reality, or revealing reality? This seems particularly relevant with regard to the presentation of damaged, tenderised, or suffering bodies. The Politics of Theatricality and the Situation of the Spectacle more.

Arts in the UK have taken a turn toward efficacy and politicisation — as reflected by Mark Wallinger's Turner Prize winning re-enactment of Brian Haw's Parliament Square protest — and also a turn toward theatricality — as reflected by the Arts in the UK have taken a turn toward efficacy and politicisation — as reflected by Mark Wallinger's Turner Prize winning re-enactment of Brian Haw's Parliament Square protest — and also a turn toward theatricality — as reflected by the invitation of primarily gallery-based artists to create works for the Manchester Opera House at the inaugural Manchester International Festival.

In what ways are these two turns reflections of each other, and in what ways do they complicate and contradict each other? In addressing this question, I want to propose a politics of theatricality which is at odds with the idea of theatre as public, democratic space. Rethinking Complicity and Resistance: Oct 24, Conference Start Date: Public Apology and the Politics of Inauthenticity more.

In these cases, sincerity itself is under attack. To what extent is a work like this an intervention in specific politics, or might it be understood as an intervention in the very idea of polity? What authority is asserted in the absence of sincerity? And how might mis- performance rework the relation between context and authority? Zagreb Conference End Date: Jul 28, Conference Start Date: Apr 4, Organization: Apr 4, Conference Start Date: They have also taken a turn toward theatricality — as In what ways do these two turns reflect each other, and in what ways do they complicate and contradict each other?

These questions will be addressed through consideration of the production of theatrical space: At one extreme, theatrical space is theorised as a model of the public sphere, and at the other, as a place of inauthenticity and spectacle. Taking Tracy Davis's analysis of the 'doubling' mechanism of theatricality and its production of 'a sympathetic breach', I will discuss both the restrictions on and possibilities for a characteristically theatrical mode of intervention.

Copenhagen Conference End Date: Aug 24, Conference Start Date: Or, if the world is a stage, then where do I sit? It is all of these things — an installation, an It is all of these things — an installation, an institutional critique, an example of relational aesthetics. To his list I want to explore the possibility of adding theatricality, and to consider the ways in which it has and might be considered a mode of politicisation. Aug 3, Conference Start Date: Why do we desire the real?

The appeal of this interpretation seems to be that it gives the theatrical experience an ethical value, a value that it can only have if we are authentically invested in the event. Can we articulate a value for the theatre-event — particularly for those events that present damaged, tenderised, or suffering bodies — which is not derived from such a model of guilt and redemption?

2010 FIFA World Cup

Sep 11, Conference Start Date: Studies on the Suffering of Images by Joe Kelleher review more. The Drama Review, 60 4: Back to Back Theatre: The Drama Review, Mike Pearson, Site-Specific Performance book review more. Thank you to everyone who contributed. International Perspectives on Contemporary Performance more. Is postdramatic theatre political and if so how? How does it relate to Brecht's ideas of political theatre, for example?


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Spain set a new record for the fewest goals scored by a World Cup-winning team, with eight. Spain's victory marked the first time that a team won the World Cup without conceding a goal in the knockout stage. The four top scorers in the tournament had five goals each.

All of the four top scorers also came from the teams that finished in the top four, Spain, the Netherlands, Germany, and Uruguay. A further three players scored four goals. Shortly after the final, FIFA issued a final ranking of every team in the tournament. The ranking was based on progress in the competition, overall results and quality of the opposition.

All 32 teams are ranked based on criteria which have been used by FIFA. The final ranking was as follows: People were invited to select a team in a 4—4—2 formation and best coach; voting was open until Six of the eleven players came from the Spanish team, as did the coach. The remainder of the team comprised two players from Germany, and one each from Brazil, the Netherlands and Uruguay. The official mascot for the World Cup was Zakumi , an anthropomorphised African leopard with green hair, presented on 22 September His name came from "ZA" the international abbreviation for South Africa and the term kumi , which means "ten" in various African languages.

It was also sung at the opening ceremony on 11 June and at the closing ceremony on 11 July. Kelly with the Soweto Spiritual Singers, which was also performed at the opening ceremony. The match ball for the World Cup, manufactured by Adidas , was named the Jabulani , which means "bringing joy to everyone" in Zulu. It was the eleventh World Cup match ball made by the German sports equipment maker; it featured eleven colours, representing each player of a team on the pitch and the eleven official languages of South Africa. The ball was constructed using a new design, consisting of eight thermally bonded, three-dimensional panels.

The surface of the ball was textured with grooves, a technology developed by Adidas called GripnGroove [] that was intended to improve the ball's aerodynamics. The design received considerable academic input, being developed in partnership with researchers from Loughborough University , United Kingdom. Some football stars complained about the new ball, arguing that its movements were difficult to predict.

The finals amplified international public awareness of the vuvuzela , a long horn blown by fans throughout matches. Others watching on television complained that the ambient audio feed from the stadium only contains the sounds of the vuvuzelas and the natural sounds of people in the stands are drowned out. The sponsors of the World Cup are divided into three categories: Tournament organiser Danny Jordaan dismissed concerns that the attack on the Togo national team which took place in Angola in January , had any relevance to the security arrangements for the World Cup.

The breach took place shortly after Prince William and Prince Harry had left the room. The trespasser was then released before he could be handed over to the Police. As with many 'hallmark events' throughout the world, [] the FIFA World Cup has been connected to evictions , [] [] [] [] [] which many claim are meant to 'beautify the city', impress visiting tourists, and hide shackdwellers. On 14 May , the Durban-based shack-dwellers' movement Abahlali baseMjondolo took the KwaZulu-Natal government to court over their controversial Elimination and Prevention of Re-Emergence of Slums Act , meant to eliminate slums in South Africa and put homeless shackdwellers in transit camps in time for the World Cup.

Another prominent controversy surrounding preparations for the World Cup was the N2 Gateway housing project in Cape Town , which planned to remove over 20, residents from the Joe Slovo Informal Settlement along the busy N2 Freeway and build rental flats and bond-houses in its place in time for the World Cup. However some have argued that evictions are ordinarily common in South Africa and that in the lead up to the tournament many evictions were erreonously ascribed to the World Cup. Some groups experienced complications in regards to scheduled sporting events, advertising, or broadcasting, as FIFA attempted to maximise control of media rights during the Cup.

Affected parties included an international rugby union Test match , a South African airline, and some TV networks, all of whom were involved in various legal struggles with World Cup organisers.

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During the tournament, group ticket-holders who did not utilise all their allotted tickets led to some early-round matches having as many as 11, unoccupied seats. While the event did help to boost the image of South Africa, financially it turned out to be a major disappointment. Local vendors were prohibited from selling food and merchandise within a 1.

This fee was out of most local vendors' reach, as they are simple one-man-operated vendors. This prevented international visitors from experiencing local South African food. Some local vendors felt cheated out of an opportunity for financial gain and spreading South African culture, in favour of multinational corporations.

The main issue listed in the article was lack of sufficient public transportation. New forms of digital media have also allowed viewers to watch coverage through alternative means. The rating was up 31 percent from a 1. The increases had been higher while the US remained in the tournament. Through the first 50 games, the rating was up 48 percent, households increased 54 percent and viewers rose 60 percent. Univision averaged 2,, viewers for the tournament, up 17 percent, and 1,, households, an increase of 11 percent.

All 64 live matches were viewed by an average of , persons per minute. Most impressive were the numbers for the semi-final between Spain and Germany, which was viewed by , people per minute, making it ESPN3.

2009 Republic of Ireland v France football matches

Sony technology was used to film the tournament. From Wikipedia, the free encyclopedia. For the video game, see FIFA For other uses, see World Cup disambiguation. Countries that failed to qualify. Countries that did not enter. Country not a FIFA member. FIFA Rules for classification: Tie-breaking criteria H Host. Royal Bafokeng Stadium , Rustenburg. Free State Stadium , Bloemfontein. Soccer City , Johannesburg. Moses Mabhida Stadium , Durban. Alberto Undiano Mallenco Spain. Ellis Park Stadium , Johannesburg. Barreto Barrios Riveros Valdez Cardozo. Loftus Versfeld Stadium , Pretoria.

Frank De Bleeckere Belgium. Cape Town Stadium , Cape Town. Gyan Appiah Mensah Adiyiah. Benito Archundia Mexico [81]. Howard Webb England [81]. Association football portal South Africa portal. Retrieved 6 July Archived from the original on 27 April Archived from the original on 30 March The New York Times.

Retrieved 5 December World Cup stadium guide". Archived from the original on 20 July Retrieved 20 June Retrieved 8 January How sport helped to transform a nation". Retrieved 29 August Archived from the original on 27 August Retrieved 30 August Retrieved 19 October Archived from the original on 26 June Retrieved 15 May Retrieved 7 June Archived from the original on 20 November Retrieved 20 November Archived from the original on 3 December Retrieved 3 December Archived from the original on 5 December Retrieved 5 January Archived from the original on 29 October Retrieved 13 October Archived from the original on 2 November Retrieved 2 November Archived from the original on 6 August Retrieved 26 March Archived from the original PDF on 3 November South African Civil Aviation Authority.

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FIFA World Cup - Wikipedia

Retrieved 18 April Archived from the original PDF on 26 September Blatter apologises for disallowed goal". Archived from the original on 29 June In the competition, Brazil was eliminated by Argentina on goal difference without losing a match. In the competition, Brazil was eliminated in a penalty shootout with France, without having lost a match. Archived from the original on 11 July Retrieved 20 February Archived from the original on 14 July Retrieved 11 July Retrieved 10 October Archived from the original on 15 June Archived from the original on 7 July Retrieved 15 July Archived from the original on 18 July Archived from the original on 23 September Retrieved 23 September Archived from the original on 30 April Retrieved 5 June Archived from the original on 7 December Retrieved 6 December