Clare Finburgh Delijani - Publications#

MONOGRAPHS

1. Sole-authored. Watching War on the Twenty-First-Century Stage: Spectacles of Conflict (London: Bloomsbury Methuen, 2017), 360 pp. Paperback release February 2019.

A “broad and often brilliant book … a compactly argued and ethically engaged survey of war … a thoughtful engagement with a range of recent stage works. … There is so much to recommend in Finburgh’s writing, which, like the works she applauds, ‘creates a space for thought rather than awe’.” (Mark Smith, New Theatre Quarterly, vol. 34, issue 2, 2018, 197-8).

“exemplary work” (Warren Kluber, “Theatres of War”, PAJ: A Journal of Performance and Art, vol. 40, issue 3, Sept. 2018, 130-6).

2. Co-authored with David Bradby, Jean Genet – Routledge Modern and Contemporary Dramatists (London: Routledge, 2011), 214 pp.

Selected as “Outstanding Academic Title” by CHOICE: Current Reviews for Academic Libraries, 2012. “This volume is a gem. Written by two experts in modern French theater, whose stated objective is to render the complexity of Genet’s work exhilarating rather than intimidating, the book bears witness to the continued political relevance and artistic power of one of the most controversial and influential authors of the 20th century. Summing up: Essential. ****” (C.B. Kerr, CHOICE)

EDITED BOOKS AND JOURNALS

3. Introduced and co-edited (with Christian Biet and Cristina de Simone), Internationale situationniste, Théâtre, Performance, special issue, Théâtre/Public 231, January 2019.

Sole-authored Introduction: “ ‘Déborder le cadre’. L’Internationale situationniste, le théâtre et la performance” , pp. 15-27.

Sole-authored article: “‘Élargir la part non médiocre de la vie’. La situation construite et le théâtre contemporain”, pp. 46-56

Interview, “‘Ces portes entrouvertes qui filtrent le monde’. Graeme Miller : Entretien avec Clare Finburgh Delijani”, pp. 82-92.

4. Co-edited and co-introduced (with Peter Boenisch), The Great Stage Directors, vol. 6: Littlewood, Planchon, Strehler (London: Bloomsbury Methuen, 2018), 234 pp.

Co-authored Introduction, pp. 7-52.

5. Co-edited and co-introduced (with Carl Lavery), Rethinking the Theatre of the Absurd: Ecology, the Environment and the Greening of the Modern Stage (London: Methuen, 2015), 312 pp.

Co-authored Introduction, pp. 1-58.

Sole-authored chapter: “Nettles in the Rose Garden: Ecocentrism in Jean Genet’s Theatre”, pp. 191-218.

“Unusually cohesive in their theoretical approach, the collection of essays in this volume opens provocative and productive ecocritical perspectives on the Theatre of the Absurd that should surely spur new approaches not only to future scholarship, but also, more crucially, to future productions of these plays.” (Wendy Arons, “Rethinking the Theatre of the Absurd: Ecology, the Environment and the Greening of the Modern Stage”, Studies in Theatre and Performance, 37.2, 2017, 295-7).

“Here it is not just a matter of Kelleher returning us to Beckett, Chamberlain to Adamov, Bottoms to Albee, Lavery to Ionesco, Finburgh to Genet, but building out from these wholly invigorating and refreshing readings of the original ‘absurdists’ in new contexts” (Alan Read, New Theatre Quarterly, 2.2 (May 2016), 197-80).

6. Co-edited with Sanja Bahun and Karin Littau, Migration, a special double issue of Comparative Critical Studies, 11.2 & 3 (autumn 2014).

7. Co-edited and co-introduced with Carl Lavery, Contemporary French Theatre and Performance (Basingstoke and New York: Palgrave Macmillan, 2011), 250 pp.

Co-authored Introduction, pp. 1-30.

Sole-authored chapter: “The Politics of Dramaturgy in France”, pp. 68-80.

“This welcome and important volume responds successfully to the challenging task of providing an inclusive, coherent, and forward-looking set of interventions by academics, artists, and theatre makers on central figures and trajectories in contemporary French theatre and performance. … one of the collection’s many strengths remains its ability to create, and extend to the reader, a meaningful invitation to community, participation, and active interpretation.” (Julia Dobson, “Contemporary French Theatre and Performance”, French Studies, 67.1, January 2013, 38-9).

ARTICLES AND BOOK CHAPTERS

8. Sole-authored. “‘Violence without Violence’: Spectacle, War and Lola Arias’s MINEFIELD (CAMPO MINADO)”, Theatre Research International, 42.2, 2017, 163-78.

9. Sole-authored. “Jean Genet et l’art du comédien: Un jeu maladroit”, and “Genet mis en scène : Table ronde avec Philippe Adrien, Antoine Bourseiller, Frédéric Fisbach et Sébastien Rajon”, in Agnès Vannouvong (ed.), Genet et les arts (Dijon: Les Presses du Réel, 2016), pp. 119-32, pp. 147-60.

10. Sole-authored. “Mises en scène de l’événement historique: la Terreur dans le théâtre anglais contemporain”, in Catherine Courtet, Mireille Besson, Françoise Lavocat and Alain Viala (eds), Corps en scènes (Paris: CNRS, 2015), pp. 189-200.