The Script Lacks

The Jewish Audio-visual Review

The Good, the Bad, and the Just

Drawing on multidisciplinary findings and ideas, this book discusses fair allocation of social resources, such as goods, services and information, in a novel and integrated way. The role of the essential features of allocation behavior: motivation, cognition and emotion, as well as morality and reactions to perceived unfairness are examined in the newly developed Justice Model. The author offers explanations as to why, how and to what extent, people, in an effort to attain justice, allocate social resources between self and others and among others. It is held that the allocation event, featuring actor, recipient and observer, as well as the resources to be allocated by an actor, can function as a guideline for the essentials of fair behavior. The work explores the conditions under which an actor may deviate from a just division of social resources thus instigating a reaction from recipients and observers. The study covers various levels of analysis ranging from the intra-personal to the societal. The book will be of interest to academics and researchers working in the areas of crime, law, justice, public policy and governance.

Rethinking Character in Contemporary British Theatre

The category of theatrical character has been swiftly dismissed in the academic reception of no-longer-dramatic texts and performances. However, claims on the dissolution of character narrowly demarcate what a subject is and how it may appear. This volume unmoors theatre scholarship from the regulatory ideals of liberal humanism, stretching the notion of character to encompass and illuminate otherwise unaccounted-for subjects, aesthetic strategies and political gestures in recent theatre works. To this aim, contemporary philosophical theories of subjectivation, European theatre studies, and experimental, script-led work produced in Britain since the late 1990s are mobilised as discussants on the question of subjectivity. Four contemporary playtexts and their performances are examined in depth: Sarah Kane’s Crave and 4.48 Psychosis, Ed Thomas’s Stone City Blue and Tim Crouch’s ENGLAND. Through these case studies, Delgado-García demonstrates alternative ways of engaging theoretically with character, and elucidating a range of subjective figures beyond identity and individuality. Alongside these analyses, the book traces a large body of work that has experimented with speech attribution since the early twentieth-century. This is a timely contribution to contemporary theatre scholarship, which demonstrates that character remains a malleable and politically-salient notion in which understandings of subjectivity are still being negotiated.