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 EIRINI KARTSAKI

R E P E T I T I O N I N
P E R F O R M A N C E
returns and invisible forces
Repetition in Performance
 Eirini Kartsaki

Repetition in
Performance
Returns and Invisible Forces
Eirini Kartsaki
Queen Mary University of London
London, Middlesex, UK

ISBN 978-1-137-43053-3 ISBN 978-1-137-43054-0 (eBook)

DOI 10.1057/978-1-137-43054-0

Library of Congress Control Number: 2017939334

© The Editor(s) (if applicable) and The Author(s) 2017

The author(s) has/have asserted their right(s) to be identified as the author(s) of this work
in accordance with the Copyright, Designs and Patents Act 1988.
This work is subject to copyright. All rights are solely and exclusively licensed by the
Publisher, whether the whole or part of the material is concerned, specifically the rights
of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction
on microfilms or in any other physical way, and transmission or information storage and
retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology
now known or hereafter developed.
The use of general descriptive names, registered names, trademarks, service marks, etc. in this
publication does not imply, even in the absence of a specific statement, that such names are
exempt from the relevant protective laws and regulations and therefore free for general use.
The publisher, the authors and the editors are safe to assume that the advice and
information in this book are believed to be true and accurate at the date of publication.
Neither the publisher nor the authors or the editors give a warranty, express or implied,
with respect to the material contained herein or for any errors or omissions that may have
been made. The publisher remains neutral with regard to jurisdictional claims in published
maps and institutional affiliations.

Copyright @ Eirini Kartsaki

Photographer: Clarisse d’Arcimoless

Printed on acid-free paper

This Palgrave Macmillan imprint is published by Springer Nature

The registered company is Macmillan Publishers Ltd.
The registered company address is: The Campus, 4 Crinan Street, London, N1 9XW,
United Kingdom
For my parents, Antonis and Konstantina
 Acknowledgements

I have had the pleasure of working on my monograph while being

employed by the School of English and Drama at Queen Mary
University of London. I would like to thank the School and the Drama
Department for supporting my work in such a rigorous way. I would
like to thank Nicholas Ridout (who was also my Ph.D. supervisor) for
his wisdom and time, and for being so brilliant. Dominic Johnson (my
second supervisor), who has been there all along, as a friend and men-
tor. My colleagues Jen Harvie and Michael McKinnie for answering all
of my questions all of the time. Bridget Escolme, Catherine Silverstone,
Daniel Oliver, Martin O’Brien, Pen Woods, Julia Bardsley, Nadia Davids,
Elyssa Livergant, Shane Boyle, Ali Campbell, Caoimhe McAvinchey, Lois
Weaver, Martin Welton and Aoife Monks for their support and guidance.
My editors from Palgrave April James, Vicky Peters and Vicky Bates.
My friends Owen Parry, Maria Agiomirgiannaki, Danai Pappa, Andriana
Minou, Hari Marini, and Gareth Cutter for putting up with my repeti-
tions for so long. My sister Angelina for being the mature one. Also, Joe
Kelleher for leading the way, Emma Bennett for showing me it is pos-
sible, Rachel Zerihan for her limitless, inimitable love, Theron Schmidt
for the journeys into repetition, Warren Garland for most things, Eirini
Nedelkopoulou for being a comrade, Clarisse D’Arcimoles for the gor-
geous cover, Antje Diedrich, Giulia Palladini, Lynne McCarthy, Eva
Aymamí Reñé, Sarah Whitfield, and Pavlos Kountouriotis for making the
time to read and respond to the work when it was the hardest. Finally, I

vii
viii Acknowledgements

would like to thank my parents, Antonis and Konstantina, whom I love

and miss so much. I would never have been able to be writing these lines
had it not been for you. Σας αγαπώ πολύ, για πάντα.
An earlier version of Chap. 6 appears in vol. 20, issue 5 of
Performance Research: On Repetition, ed. by Eirini Kartsaki and Theron
Schmidt.
 Contents

1 Introduction: Invisible Forces  1

2 Stein, Beckett, Rainer, and Brown  21

3 After Barthes  43

4 After Stein  67

5 Performance Returns  95

6 After Lacan  135

7 Conclusion: Filling the Gaps  155

Bibliography 
161

Index 
165

ix
 List of Figures

Fig. 1.1 Karen Christopher and Sophie Grodin in Control Signal

by Haranczak/Navarre, image Jemima Yong 4
Fig. 1.2 Karen Christopher and Sophie Grodin in Control Signal
by Haranczak/Navarre, image Jemima Yong 9
Fig. 1.3 Karen Christopher and Sophie Grodin in Control Signal
by Haranczak/Navarre, image Jemima Yong 13
Fig. 4.1 Come out, Fase: Four Movements to the Music of Steve Reich
by Anne Teresa De Keersmaeker/Rosas, image by Herman
Sorgeloos 72
Fig. 4.2 Come out, Fase: Four Movements to the Music of Steve Reich
by Anne Teresa De Keersmaeker/Rosas, image by Herman
Sorgeloos 74
Fig. 4.3 Piano Phase, Fase: Four Movements to the Music of Steve Reich
by Anne Teresa De Keersmaeker/Rosas, image by Herman
Sorgeloos 81
Fig. 4.4 Piano Phase, Fase: Four Movements to the Music of Steve Reich
by Anne Teresa De Keersmaeker/Rosas, image by Herman
Sorgeloos 87
Fig. 6.1 Marco Berrettini and Marie-Caroline Hominal in iFeel2,
choreographed by Marco Berrettini, Tutu Production,
image by Marie Jeanson   136
Fig. 6.2 Marco Berrettini and Marie-Caroline Hominal in iFeel2,
choreographed by Marco Berrettini, Tutu Production,
image by Marie Jeanson   138

xi
xii List of Figures

Fig. 6.3 Marco Berrettini and Marie-Caroline Hominal in iFeel2,

choreographed by Marco Berrettini, Tutu Production,
image by Marie Jeanson   143
Fig. 6.4 Marco Berrettini and Marie-Caroline Hominal in iFeel2,
choreographed by Marco Berrettini, Tutu Production,
image by Marie Jeanson   149
Fig. 7.1 Eirini Kartsaki, Rehearsing a Contorted Posture,
photographic performance, image by Clarisse D’Arcimoles   157
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