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Further On, Nothing: Tadeusz Kantor’s Theatre (review)

185 Of course “official” versions of history or Irishness have always been contested, implicated as they are within political conflict. The challenge for this volume then, is to find ways to interrogate the role that performance plays in these narratives. One approach is to offer detailed readings of specific cultural performances. The most successful of these essays, such as Emily Mark Fitzgerald’s discussion of famine commemorations and Matthew Spangler’s account of political murals in Derry, offer carefully nuanced accounts of the historical development and performative dimensions of these sites and practices. J’aime Morrison offers an alternative approach by performing a lyrical and evocative investigation of Irish landscape, while others use theories of liminality (Cregan), Foucauldian bio-politics (Causey), phenomenology (Weitz), and memory (Szabo) as a lens through which to view the cultural objects of enquiry. Employing cultural theory as a frame for analysis is perhaps the mark of a polemical desire to inject the field of Irish studies with renewed theoretical vigor, but it may also betray a scholarly tentativeness about the authority of these new objects of study.