Die Dreigroschenoper (The Threepenny Opera) by Bertolt Brecht, Elisabeth Hauptmann, Ralph Mannheim, John

By Bertolt Brecht, Elisabeth Hauptmann, Ralph Mannheim, John Willett

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Moya (Basingstoke and New York: Palgrave Macmillan, 2006), pp. 1-9 (p. 3). 5. Elin Diamond, ‘Identity Politics Then and Now,’ Theatre Research International, 37, 1 (2012), 64-67. 6. Janelle Reinelt, ‘Generational Shifts,’ Theatre Research International, 35, 3 (2010), 288-290 (p. 290). 7. Ibid. 8. See Hans-Thies Lehmann, Postdramatic Theatre, trans. with an introduction by Karen Jürs-Munby (London and New York: Routledge, 2006). 9. Janelle Reinelt, ‘Generational Shifts,’ p. 290. 10. Alan Read, Theatre, Intimacy and Engagement: The Last Human Venue (Basingstoke and New York: Palgrave Macmillan, 2007), p.

The response is for the other to appear, but an appearance that develops new models of identity that might break the cycles of corruption while avoiding a metaphysics of essence. Alain Badiou offers a manifesto of sorts for a confrontation with Empire that is responsive to our concerns for identity-based art practices. He writes in a short series of polemics called ‘Fifteen Theses on Contemporary Art’: 13. Today ART can only be made from the starting point of that which, as far as EMPIRE is concerned, doesn’t exist.

After any bio-virtual departure, what is left is alphanumerical debris, the politics of which are defi ned through the cipher of what Giorgio Agamben calls bio-politics and Achille Mbembe necro-politics. 20 Moreover, the bio-virtual manifests itself through the invasive/pervasive techno-performativity of those doubles and debris, which are nothing but the invisible dwellers of our contemporary digital camps, always veiled through in-distincition, confusion, and excess. In the non-places of the bio-virtual, the desert of the real and its representational illusions have ceased to exist, leaving space to a new bio-politics: zoë-politics.

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