Maurya Wickstrom

Major publications include the monographs, Fiery Temporalities in Theatre and Performance: The Initiation of History (Methuen Engage Series 2018), Performance in the Blockades of Neoliberalism: Thinking the Political Anew (Palgrave Macmillan, Studies in International Performance Series edited by Janelle Reinelt and Brian Singleton 2012) and Performing Consumers: Global Capital and its Theatrical Seductions, (Routledge 2006). Her most recent essays are “Wet Ontology, Moby-Dick, and the Oceanic in Performance,” Theatre Journal December 2019, and  “M. Lamar: Singing Slave Insurrection to Marx” in the January 2017 issue of Theatre Survey. Other essays include “Desire and Kairos: Cassils’s Tiresias” and “The Labor of Architecting”, both in TDR, in 2010 and 2014, and “The Infinitude of Thought in Precarious Form: Thomas Hirschhorn’s Gramsci Monument” in Performance Research in 2014.  In addition to these journals her essays have been published in Theater, Theatre Journal, Modern Drama, Theatre Annual, and Journal of Dramatic Theory and Criticism, and in edited volumes including “Palestine and Political Invention” in Performance, Identity, and the Neo-Political Subject, eds. Fintan Walsh and Matthew Causey and an essay on Irish Traveller Theatre in Changing the Subject: Marvin Carlson and Theatre Studies, 1959-2009, ed. Joseph Roach. Wickstrom’s research interests are in forms and poetics of radical politics in relation to theatre and performance. Her attention is to intellectual and artistic practice that stretches “what is” beyond its topographical limit into artistic and political innovation. She is currently working on an emerging theory or dramaturgy of the oceanic sourced in Moby Dick and its absolute radicality, and in black radical thought and performance. Her other research and teaching interests include performance and temporality; philosophy and performance with special interest in Alain Badiou and Giorgio Agamben; Palestinian politics and performance; global political theatre; animal studies; contemporary cultural, political, and performance theory; neoliberalism and performance.