Theatre and Evolution From Ibsen to Beckett | University of Oxford

Theatre and Evolution From Ibsen to Beckett

Kirsten Shepherd-Barr, Michael Billington, Morten Kringlebach, Laura Marcus
12:45 - 13:45
Radcliffe Humanities
Woodstock Road
Oxford
OX2 6GG

Seminar Room (Third Floor)

Lectures and seminars
Free
Yes
Not required

Kirsten Shepherd-Barr (Associate Professor of Modern Drama, University of Oxford) will discuss her book, Theatre and Evolution from Ibsen to Beckett with Guardian theatre critic Michael Billington, Morten Kringlebach of the Department of Psychiatry at Oxford, and Laura Marcus of Goldsmiths University.

About the book: Evolutionary theory made its stage debut as early as the 1840s, reflecting a scientific advancement that was fast changing the world. Tracing this development in dozens of mainstream European and American plays, as well as in circus, vaudeville, pantomime, and "missing link" performances, Theatre and Evolution from Ibsen to Beckett reveals the deep, transformative entanglement among science, art, and culture in modern times. The stage proved to be no mere handmaiden to evolutionary science, though, often resisting and altering the ideas at its core. Many dramatists cast suspicion on the arguments of evolutionary theory and rejected its claims, even as they entertained its thrilling possibilities. Engaging directly with the relation of science and culture, this book considers the influence of not only Darwin but also Lamarck, Chambers, Spencer, Wallace, Haeckel, de Vries, and other evolutionists on 150 years of theatre. It shares significant new insights into the work of Ibsen, Shaw, Wilder, and Beckett, and writes female playwrights, such as Susan Glaspell and Elizabeth Baker, into the theatrical record, unpacking their dramatic explorations of biological determinism, gender essentialism, the maternal instinct, and the "cult of motherhood." It is likely that more people encountered evolution at the theatre than through any other art form in the late nineteenth and early twentieth centuries. Considering the liveliness and immediacy of the theatre and its reliance on a diverse community of spectators and the power that entails, this book is a key text for grasping the extent of the public's adaptation to the new theory and the legacy of its representation on the perceived legitimacy (or illegitimacy) of scientific work.