Shonni Enelow asks, “What can we learn from looking at actors about the ways that surveillance has shaped contemporary life?” Her article examines performances in Leos Carax’s Holy Motors (2012), as well as works within the performance exhibition We’re Watching at Bard College (2017), to examine how actors perform or attempt to evade conditions of surveillance and mass spectatorship.
1 February 2018
Shonni Enelow; “And If There’s No More Beholder?”: Acting and Surveillance. Theater 1 February 2018; 48 (1): 21–31. doi: https://doi.org/10.1215/01610775-4250933
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