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A Mercurial Mirage: Seascapes as event, logic and method

grounded in semiotics and phenomenology, the last chapter, by the second editor, Mary Paterson, lies entirely within the theory of language. Once again, she points to the performer’s ironic playfulness with relation to truth and language, either as an absence of the latter (such as in the book launch of Joshua Sofaer: A biography, by Margaret Turner) or by showing, together with Konstantin Georgelou, the power structure of ready-name (such as in Your Name Here, 2015, St Helens). The book is the first attempt to give an explanation of Sofaer’s art. I find three major reasons to read it. First, it provides valuable insights into how theatre scholars worked on a case study in order to shift away from discursive studies towards performing studies with some phenomenological background, a move that I regret they did not push even further. This makes the book a theoretically rather highly engaged volume, and thus perhaps more suitable for theatre scholars and academics than artists and art lovers. Second, because the book includes many carefully selected photographs and illustrations of the artist’s works and projects, it will no doubt satisfy the latter, too. And finally, the volume provides an excellent insight into how live art by this kindhearted artist becomes highly politically engaged when it focuses on the production of critical social knowing.