Insecurity

Perils and Products of Theatres of the Real

By: Jenn Stephenson

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Hardcover | 14 April 2019

At a Glance

Hardcover
296 Pages

Dimensions(cm)
23.8 x 16.5 x 2.7

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$139.76

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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.

Industry Reviews

Insecurity is well-conceived, articulately-written, and so thoroughly and completely realized in execution. It is a pleasure to read.

- Moira Day, Department Head of Drama, University of Saskatchewan

Lively and engaging, Jenn Stephenson has produced a compelling and timely interrogation of the 'real', ably and amply illustrated by a strong selection of case studies. This work is illuminating, the breadth and diversity of the performances under investigation alone make this book an important addition to scholarship on Canadian theatre and performance. Insecurity is an original contribution to the contested terrain of putting the 'real' on stage and in front of an audience.

- Susan Bennett, Department of English, University of Calgary

This book offers a compelling and timely investigation of the 'real', ably and amply illustrated by a diversity of case studies. A must-read addition to scholarship on Canadian theatre and performance.

- Susan Bennett, Department of English, University of Calgary

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