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Marilena Zaroulia

Other affiliations: University of Winchester
Bio: Marilena Zaroulia is an academic researcher from Royal Central School of Speech and Drama. The author has contributed to research in topics: Capitalism & Stateless protocol. The author has an hindex of 4, co-authored 11 publications receiving 31 citations. Previous affiliations of Marilena Zaroulia include University of Winchester.

Papers
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Journal ArticleDOI
TL;DR: The role of performance as response to or reflection on the numerous deaths of migrants in the Mediterranean Sea, while tracing echoes and resonances of the migration crisis in the Australian context is discussed in this article.
Abstract: This dialogue between two performance academics, whose childhood memories are intertwined with memories of the sea, aims to consider the role of performance as response to or reflection on the numerous deaths of migrants in the Mediterranean Sea, while tracing echoes and resonances of the migration crisis in the Australian context.In the wake of the cessation in late 2014 of Italy’s European Commission-supported Operation Mare Nostrum migrant search-and-rescue programme, and with escalating numbers of deaths in the Mediterranean over recent months, theatre and performative protest interventions are occurring with greater frequency. We discuss two of the most prominent modes of representation and response. The first is the narrative or storytelling mode, based upon testimonies or fictionalized stories of survivors, rescuers and other witnesses to maritime migration. Works such as Anders Lustgarten’s Lampedusa (Soho, London 2015), and Case Farmakonisi, or The Trial of Water (Athens Festival, 2015) depend on...

11 citations

Journal ArticleDOI
TL;DR: Focusing on examples from theatre (On the Move festival, London International Festival of Theatre/Royal Court Theatre, London 2016), film (Gianfranco Rosi's Fuoccoamare, 2016) and the visual arts (...
Abstract: Focusing on examples from theatre (On the Move festival, London International Festival of Theatre/Royal Court Theatre, London 2016), film (Gianfranco Rosi’s Fuoccoamare, 2016) and the visual arts (...

8 citations

Book
24 Jun 2015
TL;DR: Performances of Capitalism, Crises and Resistance as discussed by the authors examines the issue of crisis in European performance since the collapse of global financial markets in 2008, and makes an argument for performance within and against neoliberal promises.
Abstract: This engaging study examines the issue of crisis in European performance since the collapse of global financial markets in 2008. The book's chapters examine diverse performances of crisis primarily in three cities with a loaded past and present for Europe, as idea and geopolitical reality: London, Athens and Berlin. Presenting a range of work – from the National Theatre's repertoire to alternative forms of theatre-making in 'other' spaces; from the Occupy LSX to cultural performance and 'invisible', quotidian performances – Performances of Capitalism, Crises and Resistance presents new approaches to performance as a form 'in crisis' and as reflecting the in-crisis permutation of the 'inside/outside' dichotomy, fundamental in the conception of Europe and the EU. In doing so, this book makes an argument for performance within and against neoliberal promises; as a monolithic factor implicated in the machinery of capitalism or multiple, emergent bodies of resistance.

4 citations

Book ChapterDOI
01 Jan 2015
TL;DR: In this paper, a series of dialogues offers two interpretations of dispossession: first, as deprivation due to injustices stripping people of their material possessions; second, as the ways in which one can be separated from the sovereign self.
Abstract: ‘What makes political responsiveness possible?’ (2013: xi) ask Judith Butler and Athena Athanasiou, concluding the preface to Dispossession: The Performative in the Political. This series of dialogues offers two interpretations of dispossession: first, as deprivation, due to injustices (neoliberalism, conflict, environmental crises) stripping people of their material possessions; second, as the ways in which one can be separated from ‘the sovereign self. Extending Butler’s previous work on violence and ethics, dispossession recognises life as interdependent and vulnerable; it signifies how one is moved by what one is exposed to and thus ‘finds oneself transported elsewhere, into another scene, or into a social world in which one is not the center’ (2013: xi). For the two theorists, being affectively moved and dispossessed of the ‘sovereign self’ are necessary conditions for Western citizens to join resisting collectivities that demand the end of injustice.

3 citations


Cited by
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Journal ArticleDOI
TL;DR: The continuous casting process comprises continuously pouring a molten metal into a space surrounded with the hollow mold and the core of the above equipment, thereby solidifying the molten metal to form an ingot having a hollow.
Abstract: Continuous casting process for the production of hollow ingot using an improved direct chill casting equipment having a molding system comprising a hollow mold and a movable platform, wherein at least one core and a pipe for introducing outer air are provided, said core being made from a refractory material unwettable with a molten metal and having a convergent taper at the side and an air runner for introducing outer air, which is packed with an air-permeable material, at the bottom, and said pipe for introducing outer air extending upwards from the air runner and passing through the core. The continuous casting process comprises continuously pouring a molten metal into a space surrounded with the hollow mold and the core of the above equipment; cooling the molten metal only at the side wall of the hollow mold without cooling at the side of the core; thereby solidifying the molten metal to form an ingot having a hollow, wherein the interface of the frozen metal and the liquid metal is present at the position around the core; and continuously lowering the ingot thus formed while introducing spontaneously outer air into the hollow part via the pipe for introducing outer air and the air runner of the core.

822 citations

DissertationDOI
01 Jan 2017
TL;DR: An increasing number of people today cross the Beitbridge border of South Africa and Zimbabwe and this comes with a corresponding growth of creative strategies that seek to aid the crossing of those p...
Abstract: An increasing number of people today cross the Beitbridge border of South Africa and Zimbabwe. This comes with a corresponding growth of creative strategies that seek to aid the crossing of those p ...

32 citations

01 Jan 2016
TL;DR: In this article, a vignette of a type of citizenship formed around the duties of relatives of disappeared persons in Mexico is presented, focusing on the men, women and children from Mexico and other countries who have disappeared and are possibly dead, waiting to be found in mortuaries and clandestine mass graves that are yet to be identified.
Abstract: This paper recovers a vignette of a type of citizenship formed around the duties of relatives of disappeared persons in Mexico. It focuses on the men, women and children from Mexico and other countries who have disappeared and are possibly dead, waiting to be found in mortuaries and clandestine mass graves that are yet to be identified.

23 citations

Dissertation
30 Nov 2018
TL;DR: In this paper, the authors examine alternative resiliences in art and culture using Balibar's notion of "civility" and argue that these alternatives are more explicitly concerned with limiting the reproduction of extremes of violence tied to an intensified subsumption of culture and the different historical crises of capitalism (socioeconomic and environmental).
Abstract: Discourses of resilience rose to prominence in the field of culture in the wake of the 2008 financial crisis. In this thesis, the history of discourses and practices of resilience will be examined in order to understand how and why resilience became important in the field. I will argue that resilience discourses and practices, which concern the management of crises and risks, legitimise and effect the subsumption of semi-marketised spheres of activity and production, including that of culture. The history of resilience in culture will also reveal that its discourses and practices bear a close relationship to ecological rationales and environmental concerns. After performing a critique of dominant liberal resilience discourses and practices in cultural policy and administration through a reference to Yúdice’s idea of ‘culture-as-resource’, I examine alternative resiliences in art and culture using Balibar’s notion of ‘civility’. I argue that these alternatives are more explicitly concerned with limiting the reproduction of extremes of violence tied to an intensified subsumption of culture and the different historical crises of capitalism (socio-economic and environmental). Finally, I explore the extent to which art conceived in a post-Adornoian fashion negates the subsumption that resilience discourses legitimise and that resilience practices effect, on account of its capacity to theatrically present capitalism’s transgression of the social limits of the market (subsumption). This idea of art will complement the discussion of civility and will be contrasted to the ideologically legitimasing or what I call, after Marcuse, the ‘affirmative’ role that art plays in relation to economic and political power. The main contribution to knowledge I make in this thesis is to recontextualise current critiques of resilience in culture and to offer a field-specific framework for this critique, which also contributes to recodify recent debates about art, performance and neoliberalism in the UK, notably through an integration of environmental perspectives. Finally, this research also contributes to clarifying the scope of practical and cultural materialist methodology in performance research. It does so by offering a critique of a policy rationale through art and criticism conceived as post-romantic and conceptual practices.

21 citations

Dissertation
01 Sep 2019
TL;DR: The work in this article investigates the ways in which recent examples of applied theatre practice in Yorkshire, that developed in response to the refugee crisis in mainland Europe, were situated in, shaped by, counteracted, contributed to, reproduced and/or resisted contexts of austerity and migration.
Abstract: Amongst ongoing state programmes of austerity, heightened nationalisms, and a bitter public debate around migration, this research project is positioned within the field of applied theatre. This thesis investigates the ways in which recent examples of applied theatre practice in Yorkshire, that developed in response to the refugee crisis in mainland Europe, were situated in, shaped by, counteracted, contributed to, reproduced and/or resisted contexts of austerity and migration. Through this, the thesis and the research it represents examines the relationship between applied theatre practice and its contexts. First, it develops a critical concept of ‘context within’ for applied theatre, reimagining context as flat, dislocal, and woven through practice. It then seeks to trace the shifting threads that weave between practice and context, and unravel the knotty double binds and points of contradiction on those threads. Alongside this, it draws from critical and cultural theory, with a detailed focus on Gayatri Spivak’s theories of representation, ethical practice, and participation. This research adds to the field of applied theatre by offering a routes and strategies for practitioners and researchers to analyse the relationship that any example of applied theatre practice might have to a chosen context, through original theories of intention, representation, effect and affect, which develop through the analysis of the case study material. It also develops critical thought around what it means to work in an imagined local context, invoking some thinkers largely neglected by applied theatre discourse, to analyse the relationship between the self of the applied theatre practitioner, and the other of the marginalised participant. This research engaged with three arts projects, working on themes of forced migration, in Yorkshire over the course of a year, through an ethnographic process. The first analysis of this case study material focuses on a piece of street theatre that used puppets to share a narrative of a sinking boat of migrants seeking rescue and refuge. The second focuses on the participatory workshops of the second project, which led to the creation of a piece of shadow theatre. The final piece marked the 70th anniversary of the partition and independences of India and Pakistan. Through the case study analysis, I search for the border crossings between context and practice on the four threads of connectivity. The thesis makes claims for the relationship of applied theatre practice to people and place, as enmeshed in unique and dislocal constellations that connect to broader, global networks, and facilitate points of refusal and political effectivity, even amongst a renewed focus on affect in the field. It offers new theories of intention, representation, effect and affect, as intersecting threads on the networks between dislocal constellations of people, place and practice, and contexts. Offering a novel concept of ‘context within’, it also ignites strategies for the field, of ‘working in the local’ and searching for a ‘theatre of little contexts’.

20 citations