Winner of the 2024 TaPRA David Bradby Monograph Prize
How is decadence being staged today – as a practice, issue, pejorative, and as a site of pleasure? Where might we find it, why might we look for it, and who is decadence for?
This book is the first monographic study of decadence in theatre and performance. Adam Alston makes a passionate case for the contemporary relevance of decadence in the thick of a resurgent culture war by focusing on its antithetical relationship to capitalist-led growth, progress, and intensified productivity. He argues that the qualities used to disparage the study and practice of theatre and performance are the very things we should embrace in celebrating their value – namely, their spectacular uselessness, wastefulness, outmodedness, and abundant potential for producing forms of creativity that flow away from the ends and excesses of capitalism.
Alston covers an eclectic range of examples by Julia Bardsley (UK), Hasard Le Sin (Finland), jaamil olawale kosoko (USA), Toco Nikaido (Japan), Martin O'Brien (UK), Toshiki Okada (Japan), Marcel·lí Antúnez Roca (Spain), Normandy Sherwood (USA), The Uhuruverse (USA), Nia O. Witherspoon (USA), and Wunderbaum (Netherlands). Expect ruminations on monstrous scenographies, catatonic choreographies, turbo-charged freneticism, visions of the apocalypse – and what might lie in its wake.
Adam Alston is Reader in Modern and Contemporary Theatre at Goldsmiths, University of London, UK. He is the co-editor of
Decadent Plays, 1890-1930 (Bloomsbury, 2024), co-editor of a special issue of
Volupté: Interdisciplinary Journal of Decadence Studies on 'Decadence and Performance' (Winter 2021), and he runs the AHRC-funded Staging Decadence project. He has also published extensively on immersive theatre.
Mark Taylor-Batty is Associate Professor of Theatre Studies and Deputy Head of School in the School of English at the University of Leeds, UK. His previous publications include
The Theatre of Harold Pinter (Bloomsbury, 2014),
About Pinter: The Playwright and the Work (Faber and Faber, 2005),
Roger Blin: Collaborations and Methodologies (Peter Lang, 2007) and, he co-authored with his wife, Juliette Taylor-Batty,
Samuel Beckett's Waiting for Godot (Continuum, 2009).
Enoch Brater is the Kenneth T. Rowe Collegiate Professor of Dramatic Literature, Professor of English and Theater at the University of Michigan and the series editor of Methuen Drama's Miller scholarly editions. He has written extensively on the work of Samuel Beckett and Arthur Miller.
Enoch Brater is the Kenneth T. Rowe Collegiate Professor of Dramatic Literature, Professor of English and Theater at the University of Michigan. He is series editor of Methuen Drama's Arthur Miller scholarly editions, and with Mark Taylor-Batty of Methuen Drama's Engage series. He has written extensively on the work of Samuel Beckett and Arthur Miller.
