Cristina Delgado Garci a. Knihy

The academic reception of no-longer-dramatic texts and performances has often dismissed the category of theatrical character. However, the notion of character is essential for understanding subjects and their representations. This volume challenges the regulatory ideals of liberal humanism, expanding the concept of character to include overlooked subjects, aesthetic strategies, and political gestures in recent theatre. It draws on contemporary philosophical theories of subjectivation, European theatre studies, and experimental, script-led works from Britain since the late 1990s to explore subjectivity. The analysis focuses on four playtexts: Sarah Kane’s *Crave* and *4.48 Psychosis*, Ed Thomas’s *Stone City Blue*, and Tim Crouch’s *ENGLAND*. Through these case studies, alternative theoretical engagements with character are proposed, revealing a spectrum of subjective figures beyond traditional identity and individuality. Additionally, the book surveys a significant body of work that has experimented with speech attribution since the early twentieth century. This timely contribution to theatre scholarship illustrates that character remains a flexible and politically relevant concept, with ongoing negotiations surrounding understandings of subjectivity.

This volume offers a timely critique of the discourse on the dissolution of character in contemporary theatre. Proposing theatrical character as a malleable notion whereby understandings of subjectivity are negotiated, Delgado-García stretches the term to encompass and illuminate otherwise unaccounted-for subjects and political gestures in experimental, script-led contemporary works.