Conclusion
Conclusion
Inspired by the work of Niels Bohr, the quantum physicist and philosopher Karen Barad refers to apparatuses as “device[s] for making and remaking boundaries”. Although theatrical performances are not necessarily the same as the performative enactments Barad describes, theatre as an apparatus is in a prime position for such boundary work. This book has specifically followed how the modern stage has generated and challenged the immunitary, biopolitical boundaries of nineteenth and twentieth century European society. Given that Bruno Latour as well has advised us to think of objects not in terms of substances but rather as performances, theatre is in a more than advantageous position to benefit from the insights of the recent material turn in philosophy and culture– and the material turn from theatre.
Keywords: boundary work, apparatus, immunity, Karen Barad, Bruno Latour, material turn, biopolitics
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