Transmorphisms in Sarah Kane’s Cleansed and Laura Wade’s Breathing Corpses
This article shows how postdramatic works for the theatre invite us into conceptual regions wherein the distinction between the diegetic and the mimetic modes is effectively blurred. Not only does this interfusion of mimesis and diegesis make the boundaries between the ‘fictitious’ theatrical reality and the non-theatrical somewhat permeable, but it also invites us to re-conceptualize mimesis as an act of production within a work. This auto-generative mimesis accounts for a elfpropelled, non-purposive, and fluxional becoming that allows a given arrangement within a play to ever constitute itself anew. In order to arrive at a definition of mimesis as a dynamic constitutive motion from within a work, I look at the generative ontology of philosopher Gilles Deleuze and his concept of ‘expression’. This type of mimesis becomes capable of showing how plays are involved in selfconstitutive processes that recompose their fabric from within. In being such, mimesis assumes the role of a generative force in the composition of literary worlds in drama.
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