On Repetition aims to unpack the different uses and functions of repetition within contemporary performance, dance practices, craft, and writing. The collection, edited by Eirini Kartsaki, explores repetition in relation to intimacy, laughter, technology, familiarity, and fear—proposing a new vocabulary for understanding what is at stake in works that repeat. Drawing on psychoanalysis, philosophy, linguistics, sociology, and performance studies—and employing case studies from a range of practices—the essays presented here combine to form a unique interdisciplinary exploration of the functions of repetition in contemporary culture.

Performance Matters

"On Repetition: Writing, Performance & Art offers a rich exploration of repetition as a complex and vital device across a range of creative contexts, including theatre, dance, performance art, stand-up comedy, music, film, and poetry....A major strength of this particular collection lies in its multidisciplinarity and its theoretical breadth.... a useful and engaging guidebook to an often under-analyzed and under-considered phenomenon, breathing new life into areas that perhaps have appeared well trodden and overlooked through its careful navigation of the creative possibilities of repetition."

'Farewell to Farewell: Impossible Endings and Unfinished Finitudes' 

Chapter in On Repetition: Writing, Performance and Art, edited by Kartsaki, Intellect

This chapter accounts for the impossible, yet desired ending of returning to re-experience a particular event; as examples of study, it uses T. J. Clark’s The Sight of Death, Beckett’s Krapp’s Last Tape as well as Pina Bausch’s Béla Bartók’s Opera: Duke Bluebeard’s Castle in order to account for a simultaneous longing and fear to end the process of returning. Such experience aims to comprehend the uncontainable event, to finish its unfinished business. The unresolved event demands a return to it, in order to be able to say, finally, but not once and for all, farewell to farewell. The following writing argues that endings, like performance itself, escape from us, forming an experience that is not quite yet and that specific uses of repetition in movement, structure or writing invite the spectator to go back to them, again and again, in an attempt to restore or repair the experience, or come to terms with it. 

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