Humans have always marked time, whether by using the earth's natural rhythms or with the clock. Unlike pre-industrial people, living in an age of social acceleration is dominated by clock-time and network time, presenting many more options than can possibly be achieved in a human lifespan.
This book explores the possibility of an alternative experience of time, one that is closer to the pure duration described by philosopher Henri Bergson. The discussions in this book contribute to contemporary performance analysis, philosophy and Bergson studies as well as exploring aspects of immersive and participatory performance, walking practices, ritual and online performance.
Using durational performances as case studies, the author demonstrates new insights into Bergson's philosophy alongside key theorists in psychology and anthropology. Through a series of performance analyses, Bergson's philosophy of duration is coupled with ideas from Maslow, Csikszentmihalyi and Victor Turner to speculate on the possibilities available in challenging an experience of the world in which time is short, but the possibility of experience is abundant.
The main audience is an academic and student market. Undergraduate and postgraduate students of theatre studies, performance and the performing arts, doctoral researchers, researchers interested in time and performance, the relationship between performance and philosophy, those with an interest in philosophy, sociology, anthropology, and psychology will all find much of interest.
Potential wider readership in those who are interested in the phenomenon of social acceleration, in performance philosophy as well in Bergson's philosophy.
"'As a practitioner of Dialectical Collaborative Theatre, I find Layton's study inspiring in its commitment to the exploration of the dialectical tensions of ideology and daily living as a route to ethical, fulfilling participation in society. Layton's analysis of Bergson's duration through performance makes this book an excellent starting point for those interested in practical explorations of th
Jo Ronan, PARtake: The Journal of Performance as Research
"'Layton's world of references is very rich, both in terms of referring to important theorists and disciplines when discussing a particular notion, as well as in terms of associating complex theoretical arguments to everyday contemporary and popular issues. [...] One cannot help but appreciate Layton's explicit recognition of his and the book's limitations, his elaborate discussion of what on the
Ayşe Draz Orhon, Journal of Theatre Criticism and Dramaturgy
