Skip to main content Accessibility help
×
Hostname: page-component-745bb68f8f-b95js Total loading time: 0 Render date: 2025-01-12T21:32:45.995Z Has data issue: false hasContentIssue false

Theatres of Autofiction

Published online by Cambridge University Press:  06 December 2024

Lianna Mark
Affiliation:
Ludwig-Maximilians-Universität München

Summary

This Element is the first monograph to focus on the presence and popularity of autofiction in contemporary theatre, a mode characterised by its mixture of autobiographical and fictional materials and generally associated with the cutting edge of literary fiction. To do so, it brings frameworks from literary and theatre studies to bear on a recent upsurge in plays that explicitly mobilise lived experience and its fictionalisation to political ends. Considering a comparative corpus of state-subsidised productions in Britain and Europe since the mid 2010s – both adaptations of literary works and plays written for the stage – this Element attends to autofiction's aesthetics and politics through its negotiation on stage of three conceptual binaries, each the focus of a section: fact/fiction, self/other, and inclusion/exclusion. By probing the mode's critical potential and pitfalls, it sheds light on the stakes of self-fictionalising practices in today's cultural markets and on the role of theatre therein.
Get access
Type
Element
Information
Online ISBN: 9781009406970
Publisher: Cambridge University Press
Print publication: 30 January 2025

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Ahmed, S. (2012). On Being Included: Racism and Diversity in Institutional Life. Chapel Hill, NC: Duke University Press.Google Scholar
Akbar, A. (2022). The Corn Is Green Review – An Inspirational Heart-Warmer in Praise of Good Education. www.theguardian.com/stage/2022/apr/24/the-corn-is-green-review-national-theatre-emlyn-williams.Google Scholar
AlJazeera English. Studio B, Unscripted: With Ken Loach and Edouard Louis. https://www.youtube.com/watch?v=J89RTrx1_eM.Google Scholar
Angel-Perez, E., Rousseau, A. & Ayache, S. (2023). Feeling a Responsibility to Art: An Interview with Ella Hickson. In Angel-Perez, E. and Rousseau, A., eds., The New Wave of British Women Playwrights: 2008–2021. Berlin: De Gruyter, pp. 227238.CrossRefGoogle Scholar
Angel-Perez, E. (2016). Écrire après la mort du théâtre: le théâtre post-post-dramatique de Tim Crouch et la scène anglaise contemporaine (UK). In Batlle, C., Gallén, E. and Güell, M., eds., Drame contemporain: renaissance ou extinction?. Maó: Punctum, pp. 437453.Google Scholar
Angel-Perez, E. (2013). Back to Verbal Theatre: Post-Post-Dramatic Theatres from Crimp to Crouch. Études Britanniques Contemporaines, 45. http://journals.openedition.org/ebc/862.Google Scholar
Behrendt, B. (2018). Sex, Brutalität und der Kampf um die Deutungsmacht. www.deutschlandfunkkultur.de/schaubuehne-berlin-im-herzen-der-gewalt-sex-brutalitaet-und-100.html.Google Scholar
Beswick, K. & Murray, C. (2022). Making Hip Hop Theatre: Beatbox and Elements. London: Methuen.CrossRefGoogle Scholar
Beswick, K. (2020). Slaggy Mums: Class, Single Motherhood, and Performing Endurance. Key Words: A Journal of Cultural Materialism, 18, 94113.Google Scholar
Beswick, K. (2014). Bola Agbaje’s Off the Endz: Authentic Voices, Representing the Council Estate: Politics, Authorship and the Ethics of Representation. Journal of Contemporary Drama in English, 2(1), 97112.CrossRefGoogle Scholar
Blommaert, J., Smits, L. & Yacoubi, N. (2020). Context and its Complications. In Fina, A. De, and Georgakopoulou, A., eds., The CUP Handbook of Discourse Studies. Cambridge: Cambridge University Press, pp. 5269.CrossRefGoogle Scholar
Bönisch, P. M. & Ostermeier, T. (2016). The Theatre of Thomas Ostermeier. Abingdon: Routledge.CrossRefGoogle Scholar
Brouillette, S. (2020). Sally Rooney’s Couple Form. https://post45.org/2020/06/sally-rooneys-couple-form/.Google Scholar
Carraway, C. (2018). Refuge Woman. Self-published zine.Google Scholar
Clark, A. (2018). Drawn From Life: Why Have Novelists Stopped Making Things Up? www.theguardian.com/books/2018/jun/23/drawn-from-life-why-have-novelists-stopped-making-things-up.Google Scholar
Comunian, R., Dent, T., O’Brien, D., Read, T. & Wreyford, N. (2023). Making the Creative Majority: A report for the All-Party Parliamentary Group for Creative Diversity on ‘What Works’ to Support Diversity and Inclusion in Creative Education and the Talent Pipeline, with a Focus on the 16+ Age Category. www.cultural/cultural/projects/creative-majority-education.Google Scholar
Crompton, S. (2023). Interview. Playwright Alexander Zeldin: ‘Lots of People Can Make a Living Being an Artist in France. In the UK, That’s not the Case’. www.theguardian.com/stage/2023/oct/15/alexander-zeldin-playwright-confessions-national-theatre-inequalities-trilogy-interview.Google Scholar
Dix, H. (2018). Introduction: Autofiction in English: The Story so Far. In Dix, H., ed., Autofiction in English, Cham: Palgrave Macmillan, pp. 123.CrossRefGoogle Scholar
Doubrovsky, S. (2013). Autofiction. Auto/Fiction 1(1), 15.Google Scholar
Doubrovsky, S. (1993). Textes en Main. In Doubrovsky, S., Lecarme, J. and Lejeune, P., eds., Autofiction & Cie, Nanterre: Université Paris X, pp. 207217.Google Scholar
Edy, D. (2020). Transfuge(s) de classe, de genre, de culture… Pour Thomas Ostermeier, tous les détours mènent à Reims. In Kargl, E., & Terrisse, B., eds., lendemains, 45(180), 92104.Google Scholar
Effe, A. & Lawlor, H. (2022). Introduction: From Autofiction to the Autofictional. In Effe, A. and Lawlor, H., eds., The Autofictional: Approaches, Affordances, Forms. Cham: Palgrave Macmillan, pp. 118.CrossRefGoogle Scholar
Ernaux, A. (2019). Towards a Transpersonal ‘I’. Translated by D. M. Cornelio. www.annie-ernaux.org/texts/vers-un-je-transpersonnel-2/.Google Scholar
Ernaux, A. (2003). L’Écriture comme un couteau: Entretien avec Frédéric-Yves Jeannet. Paris: Gallimard.Google Scholar
Evans, D. (2023). A Nation of Shopkeepers: The Unstoppable Rise of the Petty Bourgeoisie. London: Repeater Books.Google Scholar
Felski, R. (2000). Nothing to Declare: Identity, Shame, and the Lower Middle Class. PMLA, 115(1), 3345.Google Scholar
Fernandes, S. (2017). Curated Stories: The Uses and Misuses of Storytelling. Oxford: Oxford University Press.CrossRefGoogle Scholar
Ferreira-Meyers, K. (2018). Does Autofiction Belong to French or Francophone Authors and Readers Only? In Dix, H., ed., Autofiction in English, Cham: Palgrave Macmillan, pp. 2748.CrossRefGoogle Scholar
Fischer-Lichte, E. (2014). The Routledge Introduction to Theatre and Performance Studies. Abingdon: Routledge.CrossRefGoogle Scholar
Fix, F. and Toudoire-Surlapierre, F. eds. (2011). L’autofiguration dans le théâtre contemporain: Se dire sur la scène. Dijon: Editions Universitaires de Dijon.Google Scholar
Folarin, T. (2020). Can a Black Novelist Write Autofiction? https://newrepublic.com/article/159951/can-black-novelist-write-autofiction.Google Scholar
Friedman, S., O’Brien, D., & Laurison, D. (2017). ‘Like Skydiving without a Parachute’: How Class Origin Shapes Occupational Trajectories in British Acting. Sociology, 51(5), 9921010.CrossRefGoogle ScholarPubMed
Fournier, L. (2022). Autotheory as Feminist Practice in Art, Writing, and Criticism. Cambridge, MA: MIT Press.Google Scholar
Garvey, J. (2019). Woman’s Hour. www.bbc.co.uk/sounds/play/m0002bms.Google Scholar
Genette, G. (1997). Paratexts: Thresholds of Interpretation. Translated by J. E. Lewin. New York: Cambridge University Press.CrossRefGoogle Scholar
Genette, G. (1988). Narrative Discourse Revisited. Translated by J. E. Lewin. Ithaca, NY: Cornell University Press.Google Scholar
Georgakopoulou, A. (2022). Co-opting Small Stories on Social Media: A Narrative Analysis of the Directive of Authenticity. Poetics Today, 43(2), 265286.CrossRefGoogle Scholar
Gibbons, A. (2017). Contemporary Autofiction and Metamodern Affect. In van den Akker, R., Gibbons, A. and Vermeulen, T., eds., Metamodernism: Historicity, Affect, and Depth after Postmodernism. London: Rowman and Littlefield, pp. 117130.Google Scholar
Goodling, E. & Mark, L. (2022). ‘Be Yourself, Inasmuch as it Suits the Job’: ‘Authenticity’ at Berlin’s Maxim Gorki Theater and London’s Royal Court Theatre. Comparative Drama, 55(2), 3966.CrossRefGoogle Scholar
Heddon, D. (2008). Autobiography and Performance. Basingstoke: Palgrave Macmillan.Google Scholar
Heddon, D. (2002). Performing the Self: Post-script. M/C Journal, 5(5). https://journal.media-culture.org.au/mcjournal/article/view/1982.CrossRefGoogle Scholar
Hickson, E. (2018). The Writer. London: Nick Hern Books.CrossRefGoogle Scholar
Hiden, R. (2020). Das Theater als For(u)m der Darstellung soziologischer Erkenntnisse: Didier Eribons Autosozioanalyse als künstlerisches Reenact ment? In Kargl, E., & Terrisse, B., eds., lendemains, 45(180), 105117.Google Scholar
Hill-Paul, L. (2022). Mood on BBC Three: Showrunner Nicôle Lecky ‘Didn’t Identify’ with Sasha ‘It’s Not Me’. www.express.co.uk/showbiz/tv-radio/1573861/Mood-Nicole-Lecky-Sasha-identify-BBC-Three.Google Scholar
Hoggart, R. (1957). The Uses of Literacy: Aspects of Working-Class Life. London: Chatto and Windus.Google Scholar
Inchley, M. (2015). Voice and New Writing, 1997-2007: Articulating the Demos. Basingstoke: Palgrave Macmillan.CrossRefGoogle Scholar
Iversen, S. (2020). Transgressive Narration: The Case of Autofiction. In Fludernik, M. and Ryan, M.-L., eds., Narrative Factuality. Berlin: De Gruyter, pp. 555563.Google Scholar
Jaffe, A. (2011). Sociolinguistic Diversity on Mainstream Media: Authenticity, Authority and Processes of Mediation and Mediatization. Journal of Language and Politics, 10, 562586.CrossRefGoogle Scholar
James, A. (2022). The Fictional in Autofiction. In Effe, A. and Lawlor, H., eds., The Autofictional: Approaches, Affordances, Forms. Cham: Palgrave Macmillan, pp. 4160.CrossRefGoogle Scholar
Kargl, E. & Terrisse, B. (2020). Editorial. lendemains, 45(180), 34.Google Scholar
Kellaway, K. (2014). Rachel Cusk: ‘Aftermath was Creative Death. I Was Heading into Total Silence. www.theguardian.com/books/2014/aug/24/rachel-cusk-interview-aftermath-outline.Google Scholar
Kelly, H. (2019). Nicole Lecky Talks About Her Debut Play Opening at Royal Court Theatre That Explores Female Empowerment. www.swlondoner.co.uk/nicole-lecky-interview/.Google Scholar
Kene, A. (2018). Misty. London: Nick Hern Books.CrossRefGoogle Scholar
Knausgaard, K. O. (2016). Karl Ove Knausgaard: The Shame of Writing about Myself. www.theguardian.com/books/2016/feb/26/karl-ove-knausgaard-the-shame-of-writing-about-myself.Google Scholar
Kornbluh, A. (2023). Immediacy, or the Style of Too Late Capitalism. London: Verso.Google Scholar
Korthals Altes, L. (2014). Ethos and Narrative Interpretation: The Negotiation of Values in Fiction. Lincoln: University of Nebraska Press.CrossRefGoogle Scholar
Lecky, N. (2019). Superhoe. London: Nick Hern Books.CrossRefGoogle Scholar
Lejeune, P. (1975). Le pacte autobiographique, Paris: Éditions du Seuil.Google Scholar
Lerner, B. (2011). Leaving the Atocha Station. London: Granta.Google Scholar
Leroux, L.-P. (2004). Théâtre autobiographique : quelques notions. Jeu (111), 7585.Google Scholar
Louis, E. (2018). History of Violence. Translated by L. Stein. New York: Farrar, Straus and Giroux.Google Scholar
Louis, E. & Taïa, A. (2018). We Speak about Violence: Abdellah Taïa and Édouard Louis in Conversation. www.theparisreview.org/blog/2018/07/02/we-speak-about-violence-abdellah-taia-and-edouard-louis-in-conversation/.Google Scholar
Marcus, L. (2022). Autofiction and Photography: ‘The Split of the Mirror’. In Effe, A. and Lawlor, H., eds., The Autofictional: Approaches, Affordances, Forms. Cham: Palgrave Macmillan, pp. 309326.CrossRefGoogle Scholar
Mark, L. (2023). ‘Who Gets to Speak and How?’: Staging Autofiction in Debris Stevenson’s Poet in da Corner (2018) and Ella Hickson’s The Writer (2018). In Angel-Perez, E. and Rousseau, A., eds., The New Wave of British Women Playwrights: 2008-2021. Berlin: De Gruyter, pp. 131150.CrossRefGoogle Scholar
McClenaghan, M. (2018). Refuge Woman: Live Journalism Experiment Reached New Audiences. www.thebureauinvestigates.com/blog/2018-12-17/refuge-woman-the-live-journalism-experiment-that-changed-our-reporting.Google Scholar
Mead, R. (2014). The Scourge of ‘Relatability’. www.newyorker.com/culture/cultural-comment/scourge-relatability.Google Scholar
Mäkelä, M. & Meretoja, H. (2022). Critical Approaches to the Storytelling Boom. Poetics Today, 43(2), 191218.CrossRefGoogle Scholar
Murray, C. (2019). Conrad Murray Artist Q&A at Tom Thumb Theatre. Online video clip. www.conradmurray.org/new-page.Google Scholar
Murray, C. (2022). DenMarked. In Beswick, K. and Murray, C., eds., Beats and Elements: A Hip Hop Theatre Trilogy. London: Methuen, pp. 4578.Google Scholar
Pavis, P. (2016). The Routledge Dictionary of Performance and Contemporary Theatre. Translated by A. Brown. Abingdon: Routledge.CrossRefGoogle Scholar
Piketty, T. (2018). Brahmin Left vs Merchant Right: Rising Inequality and the Changing Structure of Political Conflict (Evidence from France, Britain and the US, 1948–2017). WID.world. http://piketty.pse.ens.fr/files/Piketty2018.pdf.Google Scholar
Przulj, T. (2022). Dialogic Reading Spaces in Autofiction: Rachel Cusk’s Kudos. Life Writing, 20(2), 273285.CrossRefGoogle Scholar
Rebellato, D. (2009). When We Talk of Horses: Or, What Do We See When We See a Play? Performance Research, 14(1), 1728.CrossRefGoogle Scholar
Ricœur, P. (1999). Memory and Forgetting. In Kearney, R. & Dooley, M., eds., Questioning Ethics: Contemporary Debates in Philosophy. London: Routledge, pp. 511.Google Scholar
Ricœur, P. (1990). Time and Narrative Volume 3. Translated by K. Blamey and D. Pellauer. Chicago, IL: The University of Chicago Press.Google Scholar
Satin, L. & Jerome, J. (1999). Introduction. Women & Performance: A Journal of Feminist Theory, 10(1–2), 919.CrossRefGoogle Scholar
Schaeffer, J.-M. (2010). Why Fiction? Lincoln, NE: University of Nebraska Press.Google Scholar
Schmitt, A. (2022). The Pragmatics of Autofiction. In Effe, A. and Lawlor, H., eds., The Autofictional: Approaches, Affordances, Forms. Cham: Palgrave Macmillan, pp. 83100.CrossRefGoogle Scholar
Schmitt, A. (2010). Making the Case for Self-Narration. Against Autofiction. a/b. Auto/Biography Studies, 25(1), 122137.CrossRefGoogle Scholar
Schulze, D. (2017). Authenticity in Contemporary Theatre and Performance: Making it Real. London: Methuen.Google Scholar
Smith, S. & Watson, J. (2001). Reading Autobiography: A Guide for Interpreting Life Narratives. Minnesota, MN: University of Minnesota Press.Google Scholar
Srikanth, S. (2019). Fictionality and Autofiction. Style, 63(3), 344363.CrossRefGoogle Scholar
Stephens, S. (2012). Deutsch Courage: Why German Theatre Dares – And Wins. www.theguardian.com/stage/theatreblog/2012/may/09/german-theatre-dares-three-kingdoms.Google Scholar
Stephenson, J. (2013). Performing Autobiography: Contemporary Canadian Drama. Toronto: University of Toronto Press.CrossRefGoogle Scholar
Taylor, B. (2021). The Tiny White People in Our Heads: Black Subjectivity, Elaine De Kooning, Autofiction. https://blgtylr.substack.com/p/the-tiny-white-people-in-our-heads.Google Scholar
Thompson, S. (2018). salt. London: Faber & Faber.CrossRefGoogle Scholar
Thomson, G. A. (2018). More Life: On Contemporary Autofiction and the Scourge of Relatability. Michigan Quarterly Review Online. https://sites.lsa.umich.edu/mqr/2018/08/more-life-on-contemporary-autofiction-and-the-scourge-of-relatability/.Google Scholar
Tomlin, L. (2019). Political Dramaturgies and Theatre Spectatorship: Provocations for Change. London: Methuen.CrossRefGoogle Scholar
Twellmann, M. & Lammers, P. (2023). Autosociobiography: A Travelling Form. Comparative Critical Studies, 20(1), 4768.CrossRefGoogle Scholar
van der Erve, L., Krutikova, S., Macmillan, L. & Sturrock, D. (2023). ‘Intergenerational mobility in the UK’. IFS Deaton Review of Inequalities. https://ifs.org.uk/inequality/intergenerational-mobility-in-the-uk.CrossRefGoogle Scholar
Wagner-Egelhaaf, M. ed. (2019). Handbook of Autobiography/Autofiction. Berlin: De Gruyter.CrossRefGoogle Scholar
Wagner-Egelhaaf, Martina. (2022). Of Strange Loops and Real Effects: Five Theses on Autofiction/the Autofictional. In Effe, A. and Lawlor, H., eds., The Autofictional: Approaches, Affordances, Forms. Cham: Palgrave Macmillan, pp. 2140.CrossRefGoogle Scholar
Weigel, P. (2011). Autofictions au théâtre : la demi-masque et la plume. In F. Fix and F. Toudoire-Surlapierre, eds., L’autofiguration dans le théâtre contemporain: Se dire sur la scène. Dijon: Editions Universitaires de Dijon, pp. 1529.Google Scholar
White, G. (2013). Audience Participation in Theatre: Aesthetics of the Invitation. Basingstoke: Palgrave Macmillan.CrossRefGoogle Scholar
Worthen, J. R. (2021). Autofiction and Selfie Aesthetics. https://post45.org/2021/12/autofiction-and-selfie-aesthetics/.Google Scholar
Yeung, P. (2019). The Grim Reality of Life under Gangs Matrix, London’s Controversial Predictive Policing Tool. www.wired.co.uk/article/gangs-matrix-violence-london-predictive-policing.Google Scholar
Zarin, C. (2018). ‘Returning to Reims’: A German Theatre Company’s Meditation on the Politics of Working-Class Families. www.newyorker.com/culture/culture-desk/returning-to-reims-a-german-theatre-companys-meditation-on-the-politics-of-working-class-families.Google Scholar
Zipfel, F. (2014). Fiction across Media: Toward a Transmedial Concept of Fictionality. In Ryan, M. L. and Thön, J.-N., eds., Storyworlds across Media: Towards a Media-Conscious Narratology. Lincoln, NE: University of Nebraska Press, pp. 103125.CrossRefGoogle Scholar
Zipfel, F. (2005). Autofiction. In Herman, D., Jahn, M., and Ryan, M.-L., eds., Routledge Encyclopedia of Narrative Theory. New York: Routledge, pp. 3637.Google Scholar
Zwartjes, A. (2019). Under the Skin: An Exploration of Autotheory. Assay: A Journal of Nonfiction Studies, 6(1). www.assayjournal.com/arianne-zwartjes8203-under-the-skin-an-exploration-of-autotheory-61.html.Google Scholar

Save element to Kindle

To save this element to your Kindle, first ensure no-reply@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Theatres of Autofiction
  • Lianna Mark, Ludwig-Maximilians-Universität München
  • Online ISBN: 9781009406970
Available formats
×

Save element to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Theatres of Autofiction
  • Lianna Mark, Ludwig-Maximilians-Universität München
  • Online ISBN: 9781009406970
Available formats
×

Save element to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Theatres of Autofiction
  • Lianna Mark, Ludwig-Maximilians-Universität München
  • Online ISBN: 9781009406970
Available formats
×