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SCHEDULE, 2017-18

Week 1 Introduction to MATPR and Theoretical Thematics

  • Overview of MATPR
  • Why Theory? (Susan Haedicke) The introductory class will address the question of ‘why theory’ as it explores the critical tools that theory can provide.


Week 2 Trauma and Visual Culture (Anna Harpin)


Text: The Complete Maus by Art Spiegelman (London: Penguin, 2003)

Critical Reading 1: Roger Luckhurst, 'Introduction' in The Trauma Question (London: Routledge, 2008)

Critical Reading 2: Sigmund Freud, 'Beyond the Pleasure Principle' in Beyond the Pleasure the Principle and Other Writings, trans. by trans. by John Reddick (London: Penguin, 2003)

Critical Reading 3: Cathy Caruth, 'The Wound and the Voice' in Caruth, Unclaimed Experience: Trauma, Narrative, and History (Baltimore: Johns Hopkins University Press, 1996)

Critical Reading 4: Michael G Levine, 'Necessary Stains: Art Spiegelman's MAUS and the Bleeding of History' in American Imago (59:3) 2003, pp. 317-341.


Week 3 Trauma and Visual Culture (Anna Harpin)


Film: Night and Fog (Nuit et Brouillard) by Alain Resnais.

Critical Reading 1: Silverman, Max, 'Horror and the Everyday in Post-Holocaust France: Nuit et brouillard and Concentrationary Art' in French Cultural Studies, (17:1), 2006 Feb, 5-18.

Critical Reading 2: Dominick LaCapra,' Lanzmann's Shoah '"Here there is no why'"' in Dominick LaCapra, History and Memory After Auschwitz (New York: Cornell University Press, 1998).


Week 4 Trauma and Visual Culture (Anna Harpin)


Play: Bent by Martin Sherman (London: Methuen, 2003)

Companion play: Peter Weiss, The Investigation (London: Marion Boyars, 2005)

Critical Reading 1: Robert Skloot, 'Holocaust Theatre and the Problem of Justice' in Claude Schumacher Holocaust Theatre: Staging the Shoah in Drama and Performance (Cambridge: Cambridge University Press, 1998)

Critical Reading 2: Michael Rothberg, 'The Demands of Holocaust Representation' in Michael Rothberg, Traumatic Realism: The Demands of Holocaust Representation(Minnesota: University of Minnesota Press, 2000)

Critical Reading 3: Robert Eaglestone, ‘Faithful and Doubtful, Near and Far’: Memory, Postmemory, and Identity' in Robert Eaglestone, The Holocaust and the Postmodern (Oxford: Oxford University Press, 2007)


Suggested Optional Readings for Trauma and Visual Culture

Cathy Caruth (ed), Trauma: Explorations in Memory (Baltimore: Johns Hopkins University Press, 1995)

Ruth Leys Trauma: A Genealogy (Chicago: University of Chicago, 2000)

Dori Laub and Shoshana Felman eds, Testimony: Crises of Witnessing in Literature, Psychoanalysis, and History (Oxon: Routledge, 1992)

Janet Walker, Trauma Cinema (University of California Press, 2005)

Lawrence Langer, Admitting the Holocaust: Collected Essays (Oxford: Oxford University Press, 1995)

Anne Whitehead, Memory (Oxford: Routledge, 2009)


Week 5 Gender and Sexuality: Theory, Performance and Intersectionality – an activist’s approach (Wallace McDowell)

Johnson, Alan G., The Gender Knot, Philadelphia: Temple Iniversity Press, 2005, Chapter 5

Kirkwood, Lucy, NSFW, Hick Hern Books, 2012

Butler, Judith, Gender Trouble, London: Routledge, 1999, Chapter 1.

Aston, Elaine, An Introduction to Feminism and Theatre, London: Routledge, 1995, Chapter 3.

Week 6 Gender and Sexuality: Theory, Performance and Intersectionality – an activist’s approach (Wallace McDowell)

Burke, Gregory, Black Watch, London: Faber and Faber, 1997.

Black Watch part Two

Connell, RW and Messerschmidt, James W, Hegemonic Masculinity: Rethinking the Concept in Gender and Society, Vol. 19, No. 6 (Dec 2005), pp. 829-859.

Sjoberg, Laura, Gender, War, & Conflict, Chapter 3

Urwin, Jack, Man Down: Masculinity in the Military and Institutionalised ViolenceMan Up: Surviving Modern Masculinity, London: Icon Books, 2016, pp.79-108

Week 7 Gender and Sexuality: Theory, Performance and Intersectionality – an activist’s approach (Wallace McDowell)

 What is a feminist object

Suggested Optional Readings for Gender and Sexuality

Walby, Sylvia, The Future of Feminism, Cambridge: Polity Press, 2011

Edwards, Tim, Cultures of Masculinity, Abingdon: Routedge, 2006.

Buchbinder, David, Studying Men and Masculinities, Abingdon: Routledge, 2013.

Connell, Raewyn, Gender: Short Introductions, Cambridge: Polity Press, 2009

Keyssar, Helene (ed.), Feminist Theatre and Theory, Basingstoke: Palgrave Macmillan, 1996.

Perry, Grayson, The Descent of Man, Penguin Random House, 2016.

Aston,Elaine & Harris, Geraldine, Performance Practice and Process: Contemporary [Women] Practitioners, Basingstoke: Palgrave Macmillan, 2008.

Baxter, Holly and Cosslett, Rhiannon Lucy, The Vagenda, London: Vintage, 2015.

Banyard, Kat, The Equality Illusion, London: Faber and Faber, 2011.

Bates, Laura, Girl Up, London: Simon and Schuster, 2016.

Week 8 Affect and Embodiment: Spinoza’s Legacy (Susan Haedicke)


Critical Reading 1: Antonio Damasio, Looking for Spinoza: Joy, Sorrow and the Feeling Brain, pp. 3-24 (available through the Library course extracts:, Scroll down to Theatre Studies and then click on TH986).

Critical Reading 2: Patricia T. Clough, 'The Affective Turn: Political economy, Biomedia, and Bodies, in The Affect Theory Reader, pp. 206-225 (e-book)

Critical Reading 3: Michael Hardt, ‘Forward: What affects are good for’ in Clough, ed. The Affective Turn: Theorizing the Social, pp. ix-xii (available through the Library course extracts:, Scroll down to Theatre Studies and then click on TH986).

Critical Reading 4: James Thompson, ‘Introduction: Hedonism is a Bunker’, pp. 1-11; Ch. 1: ‘Incidents of Cutting and Chopping’, pp. 15-42; and Ch. 4: ‘Performance Affects: A Kind of Triumph’, pp. 115-135 in Performance Affects: Applied Theatre and the End of Effect. (e-book)

Play: Marina Carr, On Raftery’s Hill (Drama Online)

Preparation: Choose three particular ideas, insights or concepts-- one each in Damasio, Clough, AND Thompson --that you find particularly interesting, engaging or provocative. Be ready to summarise your findings and thoughts about them. Think about how you would apply these ideas to Carr's play.


Week 9 Affect and Embodiment: Spinoza’s Legacy (Susan Haedicke)


Critical Reading 1: Gilles Deleuze and Felix Guattari, What is Philosophy? Chapter 7: 'Percept, Affect, and Concept', pp. 163-199 (e-book)

Critical Reading 2: Sara Ahmed, ‘Happy Objects’ in The Affect Theory Reader, pp. 29-51 (e-book)

Critical Reading 3: Nigel Thrift, ‘Understanding the Material Practices of Glamour’ in The Affect Theory Reader, pp. 289-308 (e-book)

Critical Reading 4: Ben Highmore, ‘Bitter after Taste: Affect, Food, and Social Aesthetics’ in The Affect Theory Reader, pp. 118-137 (e-book)

Play: Naomi Wallace, And I and Silence (several copies are available in print in the Library)

Preparation: Bring in five questions that you would like to ask the authors. All five questions can be for one author or spread among the authors. Think about how we would analyse And I and Silence through affect theory.


Week 10 Affect and Embodiment: Spinoza’s Legacy (Maria Estrada Fuentes)


Critical reading 1: Ahmed, Sara. "Feel Your Way." In The Cultural Politics of Emotion, 1-19. New York: Routledge, 2004.

Critical reading 2: Barthes, Roland. Camera Lucida: Reflections on Photography [La Chambre Claire]. Translated by Richard Howard. London : Vintage1993. Students are encouraged to read the entire book. Prepare at least Part 1.

Critical reading 3: Petit, Philippe. "To Reach the Clouds: My High-Wire Walk between He Twin Towers." In The Routledge Circus Studies Reader, edited by Peta Tait and Katie Lavers, 455-60. New York and London: Routledge, 2016.

Critical reading 4: Tait, Peta. "Ecstasy and Visceral Flesh in Motion." In The Routledge Circus Studies Reader, edited by Peta Tait and Katie Lavers, 299-312. London and New York: Routledge, 2016.

Films (excerpts in class):

Man on wire. 2008. Directed by James Marsh.

11'09''01, 2002. Short directed by Alejandro González Iñárritu.

Optional readings

Optional reading 1: Nietzsche, Friedrich. "Thus Spoke Zarathustra." Translated by R.J. Hollingdale. In The Circus Studies Reader, edited by Peta Tait and Katie Lavers, 461-66. London and New York: Routledge, 2016.

Optional reading 2: Spinoza, Benedictus de, and G. H. R. Parkinson. Ethics. Oxford Philosophical Texts. Oxford ; New York: Oxford University Press, 2000.

These sections: Part Three: On the Origin and Nature of Emotions.
Part Four: On Human Servitude, or On the Strength of Emotions.

Suggested Optional Readings for Affect and Embodiment:

Clough, Patricia Ticineto, ed. (2007) The Affective Turn: Theorizing the Social. Durham and London: Duke University Press.

Colebrook, Claire. (2002) Gilles Deleuze. London and New York: Routledge.

Colebrook, Claire. ‘The Sense of Space: On the Specificity of Affect in Deleuze and Guattari’. Postmodern Culture 15.1 (2004): n.p. (DOI: 10.1353/pmc.2004.0035)

Deleuze, Gilles. (1995) Negotiations: 1972-90. Trans. Martin Joughin. New York: Columbia University Press.

Deleuze, Gilles. 1988. Spinoza: Practical Philosophy. Trans. Robert Hurley. San Francisco: City Lights Books.

Deleuze, Gilles and Félix Guattari. (1988) A Thousand Plateaus: Capitalism and Schizophrenia. Trans. Brian Massumi. London: The Athlone Press.

Dolan, Jill. (2005) Utopia in Performance: Finding Hope at the Theater. Ann Arbor: University of Michigan Press.

Gregg, Melissa and Gregory J. Seigworth, eds. 2010. The Affect Theory Reader. Durham, Duke University Press.

Hoggett, Paul and Simon Thompson, eds. (2012) Politics and Emotions: the Affective Turn in Contemporary Political Studies. London: Continuum International Publishing Group.

Knudsen, Britta Tim and Carsten Stage. (2015) Affective Methodologies: Developing Cultural Research Strategies for the Study of Affect. Basingstoke: Palgrave Macmillan.

Leys, Ruth. ‘The Turn of Affect: A Critique’. Critical Inquiry 37.3 (2011): 434-472.

Massumi, Brian. (2015) Politics of Affect. Cambridge, UK: Polity.

Ruddick, Susan. ‘Spinoza in the Work of Negri and Deleuze’. Theory, Culture & Society 27.4 (2010): 21-45.

Sedgewick, Eve Kosofsky. (2003) Touching Feeling: Affect, Pedagogy, Performativity. Durham and London: Duke University Press.

Thrift, Nigel. (2010) ‘Halos: Making More Room in the World for New Political Orders’. In Political Matter: Technoscience, Democracy, and Public Life. Minneapolis: University of Minnesota Press, pp. 139-76.

Thrift, Nigel. (2008) Non-Representational Theory: Space/Politics/Affect. London and New Yourk: Routledge.


 Additional Optional Readings — Theory Overviews:

Citron, Atay, Sharon Aronson-Lehavi, and David Zerbib, (eds.). Performance Studies in Motion: International Perspectives and Practices in the Twenty-First Century. London: Bloomsbury, 2014.

Fortier, Mark. Theory/Theatre: An Introduction. New York: Routledge, 2002.

Nealon, Jeffrey and Susan Searls Giroux. The Theory Toolbox: Critical Concepts for the Humanities, Arts and Social Sciences. 2nd rev. ed. New York: Rowman and Littlefield Publishers, 2011.

Reinelt, Janelle and Joseph Roach (eds.). Critical Theory and Performance. 2nd rev, ed. Ann Arbor, MI: University of Michigan Press, 2006.

Reynolds, Bryan, ed. Performance Studies: Key Words, Concepts and Theories. Basingstoke: Palgrave Macmillan, 2014.



Susan Haedicke
s dot haedicke at warwick dot ac dot uk

Anna Harpin
a dot r dot harpin at warwick dot ac dot uk

Wallace McDowell
wallace dot b dot mcdowell at warwick dot ac dot uk