Book

Description

In the final scenes of Jean Genet's The Balcony, a revolution collapses into farce: the brothel's clients step into the ruined city and are received, without irony, as the very bishop, judge, and general the revolution had just deposed. Costume becomes office; rehearsal becomes government. This book asks how that reversal works, and what it costs. Taking The Balcony as its central case—with The Blacks and The Screens as points of comparison—it argues that Genet's theatre achieves what it calls aesthetic politics: a mode of political effect that operates through the sensory organization of the stage itself, prior to and independent of anything the play says. Drawing on Deleuze and Guattari, Baudrillard, Rancière, and Mouffe, the book traces this mechanism across five sensory categories—identity, time, space, sight, and sound—before asking what its limits are, and what "emancipation" can mean for a theatre that redistributes perception without ever resolving conflict. A study for scholars and students of modern drama, political aesthetics, and performance theory.