Bryan Reynolds

Bryan Reynolds
University of California, Irvine | UCI · Department of Drama

Doctor of Philosophy

About

77
Publications
8,701
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166
Citations
Citations since 2016
29 Research Items
45 Citations
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2016201720182019202020212022024681012
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2016201720182019202020212022024681012
Introduction
My research of subjectivity, consciousness, and affect spans several disciplines, including critical theory, history, performance studies, social semiotics, philosophy, cognitive neuroscience, dramatic literature, sports studies, and African and Middle Eastern studies. I am also the Artistic Director of the Amsterdam/Los Angeles-based Transversal Theater Company, a director of theater, a performer, and a playwright. For more about my theater work, please see https://www.transversaltheater.com/
Education
September 1990 - May 1997
Harvard University
Field of study
  • English and American Literature and Language
August 1990 - May 1997
Harvard University
Field of study
  • English and American Literature and Language
September 1987 - May 1989
University of California, Berkeley
Field of study
  • English Literature

Publications

Publications (77)
Research
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Written from the perspective of Transversal Poetics, this essay involves an exploration of the theory’s various selves in the context of a self-immolating spectacle staged at London’s New Globe Theatre by the theory’s progenitor, Dr. Bryan Reynolds. The essay outlines the history of this scandalous affair, which was inspired by the work of Rodrigo...
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The Zapatista Army of National Liberation has been struggling for greater rights and autonomy for the indigenous Mayan peoples of Chiapas, Mexico for the last three decades. The iconography, semiotic system, and progressive myth-making the Zapatistas produce in the hundreds of murals adorning their communities disseminate a powerful anti-state and...
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omething that every theater-maker knows is that objects perform. Or, they are made to perform. Performance theorists and theater semioticians have a term for this, “ostention.
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Fractalicious! by Bryan Reynolds, the script to the Transversal Theater Company’s intermedial production, which the company has been touring internationally since it was premiered in Amsterdam in March 2012.
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Nodals of Hamletspace, which is itself a subset of Shakespace, have laminated across history. They emerge within streams of Hamletspace as its component parts invade, envelop, and then play as processual amalgamations of becomings- and comings-to-be-different from quotidian-consciousness and its commonplace context. The headspace of Hamlet is poten...
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To fugitively explore is to track irresistible and elusive subject matters, to journey the undercurrents of semiotic streams, not in the interest of absolute capture, but to balance on a nodal of understanding, where affective forces significantly meet, until we move off. Afterwards the noodling resumes, and we improvise on the memories generated,...
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When we buy lobsters from grocers, or have them flown in by FedEx from Maine, or when we choose them from the tank at the seafood restaurant, where they crawl around on top of each other, antennae slowly waving, we experience a distinct and oddly excited perplexity. We might arrive at home with the lobsters in a paper bag or box, still alive, claws...
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The becomings- and comings-to-be-other, together, and through intermedial theater, force-multiplied by its indeterminate structural propensities for affective emergences that exceed the artistic designs of the theatric-media processes themselves, stimulate cascades of feedback-loops givings-way to feedforward-flows goings-elsewhere wondrously achie...
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This book explores relationships between intermedial theater, consciousness, memory, objects, subjectivity, and affect through productive engagement with the performance aesthetics, socio-cognitive theory, and critical methodology of transversal poetics alongside other leading philosophical approaches to performance. It offers the first sustained a...
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Foreword: Seeing Across Shakespeare J.Reinelt Transversal Performance: Shakespace, the September 11th Attacks, and the Critical Future B.Reynolds The Making of Authorships: Transversal Navigation in the Wake of Hamlet, Robert Wilson, Wolfgang Wiens, and Shakespace D.J.Hopkins & B.Reynolds Venetian Ideology or Transversal Power?: Iago's Motives and...
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When we think about the early modern period (or pre-modern in some regions) we tend to attribute to it historical shifts, arcs, and narratives of development and influence within a particular span of history, such as, for scholars of English literary-cultural history, 1500–1640. But we typically do not see the period as having a speed, momentum, or...
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We adventure becomings-Merry Pranksters with Félix Guattari on Ken Kesey's magic bus to resonate the group's transversality that we already affect subjunctively, individually and plurally from which our subjectivities crystallise collectively and independently with intensive-extensions to go viscerallectric and fractalactic. Yet in-process, before...
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It is no wonder that so many scholars are fascinated by the wonders and marvels of the early modern stage, for assuredly Shakespeare was as well. He peoples his worlds with a plethora of marvelous characters: fairies, sprites, monsters, magicians, fools, apothecaries, witches, ghosts, kings, queens, actors, and so on. He elevates and devastates the...
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The idea of a return of theory might give readers pause. When, if at all, did use and development of theory in early modern English literary-cultural studies decline? With the exception of new materialist, post humanist, and some performance-oriented work, as well as the combined social theory, performance aesthetics, and critical methodology of tr...
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In a land far, far away, there wander analog hybridizations. In this story, guided by the theory, aesthetics and methodology of transversal poetics, we adventure to some previously explored and unexplored territories in the Xanadu of which this land appears. Marvelous encounters with folk physics, evolutionary theory, neuronal activity and massive...
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Through his rigorous examinations of the common, the quotidian, the personal, the plural practices that establish and continually transform societies, Michel de Certeau develops a conception of culture born of the perpetual transgression, however subtle or pronounced, of the boundaries imposed by all ordering and totalizing systems, whether theoret...
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The figure of the child, as paradigmatic trope of “child” or incarnation of “childhood,” poses an anxious contribution to theoretical discourses of subjectivity. The child embodies aspects of alterity, thereby delimiting possibilities with regard to sanctioned subjectivation. It also traces the potential for subjective growth, allowing on explicit...
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We would have subtitled this chapter, “Montaigne’s Guide to Modernity, Foucault’s Biopower, Agamben’s Exception, Rancière’s Dissensus, Boltanski’s Multiplicities, and Human Rights after Arendt, Habermas, and Derrida,” but we are not so expansive as to lose all concern for style or credibility. And yet, it is the desire to involve ourselves in the c...
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The history of Western critical theory has been preoccupied with questions regarding subjectivities and subjects, about what constitutes and accounts for them: whether individual or collective consciousness, presence, embodiment, perspective, authority, simulacra, and so on; whether they are singularities within multiplicities, or vice versa, or so...
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Jean-Jacques Rousseau sweated, urinated, defecated, and ejaculated. He produced and reproduced. According to the “schizoanalytic” theory of Gilles Deleuze and Félix Guattari, he was a desiring-machine, an autonomic process of production and more production that works, breaks down, and immediately starts up again. But we are inclined to postpone dis...
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Beginning in sixteenth-century England, a distinct academic culture of friars, professors, mathematicians, magicians, astrologers, adepts, and students emerged and flourished. This community was self-defined by the academic conduct and dissident thought promoted by its members, and officially defined by and against the dominant preconceptions of En...
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Thomas Middleton and Thomas Dekker’s The Roaring Girl has been among the most discussed of the non-Shakespearean early modern English plays since the mid 1980s. The reason for this may seem fairly obvious to those familiar with trends in both literary-cultural criticism and popular culture since 1980. As a play about a powerful woman cross-dressed...
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Metatheatricality is a term often applied to Marlowe’s 1587 play Tamburlaine. Critics reference the costuming and language of Marlowe’s lead character and argue that he was constructed through metatheatrical and metapoetic self-fashioning.1 Alternatively, we see Tamburlaine as an extraordinary example of antitheatricality, one that offers its own t...
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Self-help’s popularization by late capitalism acknowledges the extent to which our relationships can be mediated through commodities, yet overstates its potential to mediate satisfactorily our sense of our “inner” selves. But to what extent were the mechanisms of self-help already in place within the emergent capitalism of early modern culture?1 Ac...
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The lyrics from the punk/ska/reggae band Sublime’s song “Romeo” are indicative of popular conceptions of Romeo and Juliet as a tragic love story, and are suggestive of a number of meanings associated with the play’s title characters that have permeated what some might dismiss as the lower depths of popular culture. In the song, lead singer and lyri...
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The 2003–2004 war on Iraq, launched in the wake of the 2001 attacks on the United States and the subsequent invasion of Afghanistan, emphasized for me the need for activism, critical inquiry, and pedagogy that is rigorous, theoretical, and socially and politically engaged. Societies worldwide are rapidly becoming more interconnected through mass me...
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Among the momentous historical sea-changes of the sixteenth and seventeenth centuries, which included the Copernican system, the great vowel shift, the public theater in England, nascent capitalism, and colonial expansion, there was an important conceptual revolution that has been less attended to. It is, moreover, one that connects all of these re...
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In their recent essay, “‘A little touch of Harry in the night’: Trans-lucency and Projective Transversality in the Sexual and National Politics of Henry V,” Donald Hedrick and Bryan Reynolds argue that Shakespeare’s Princess Catherine potentially undermines King Henry’s fantasized domination of her during sex by occupying antithetically the concept...
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Early modern England’s state machinery and official culture used the Holy Bible as the legal basis and rationale for its ordering procedures. To promote the populace’s “appropriate” subjectification, the dominant sociopolitical conductors relied most of all on the — perhaps overdetermined — “objective agency” of this traditionally consecrated histo...
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In attempting to comprehend associations between the character Aaron’s villainy and blackness in George Peele and Shakespeare’s Titus Andronicus (1592), we begrudgingly use the term “race,” finding ourselves in what has become an all too common quagmire between impulses to exclude and include the word in discourse on social identity.1 Recognizing r...
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Journal for Early Modern Cultural Studies 5.2 (2005) 37-70 The lyrics from the punk/ska/reggae band Sublime's song "Romeo" are indicative of popular conceptions of Romeo and Juliet as a tragic love story, and are suggestive of a number of meanings associated with the play's title characters that have permeated what some might dismiss as the lower d...
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In the last quarter-century, the study of Shakespeare has proliferated explosively and multifariously across disciplines, classes, cultures, and media. The Bard’s plays now comprise most of the university and professional theater productions in the United States, and there have been over three hundred English-language film adaptations of them distr...
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In their recent essay, ‘ “A little touch of Harry in a night”: Translucency and Projective Transversality in the Sexual and National Politics of Henry V,’ Donald Hedrick and Bryan Reynolds argue that Shakespeare’s Princess Catherine potentially undermines King Henry’s fantasized domination of her during sex by occupying antithetically the conceptua...
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This forum has been organized, introduced, and edited by Viviana Comensoli with the aim of exploring current theoretical and critical approaches to the conceptualization and representation of subjectivity in English Renaissance drama. The introduction provides an overview of various poststructuralist theoretical approaches that since the 1980s have...
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The wave of success that has established William Shakespeare as the most popular and prolific screenwriter currently working in Hollywood shows no sign of abating.2 But, as evidenced by the disparity in style and quality of recent productions, there is more than one way to make a “Shakespeare movie.” In an article titled “Shooting Shakespeare,” wri...
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The multiple roles of Henry V have become a critical commonplace, whether he is viewed positively or negatively as savvy prince or as calculating politician. The specific interrelation of the roles and the mechanisms of their production have been less attended to, and are, because of their paradoxical interfaces, particularly inviting of a transver...
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Manhattan, July 7, 1995: On this hot, muggy evening, an audience rapidly filled Lincoln Center’s air-conditioned Alice Tully Hall. Whereas the majority probably hailed from New York City and its nearby environs, one member of the audience had driven down from Cambridge, and another had flown in from San Diego, just to see this particular performanc...
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The United States of America’s immediate response to the September 11, 2001 attacks on the World Trade Center and the Pentagon was multifarious, but mainly it was horrific astonishment. The people of this country wanted to know who was responsible and why the attacks were perpetrated. They also wanted to know what the damage was and how to fix it....
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The Tempest has been a homage to art, an autobiographical farewell to theater, a colonialist celebration of English expansion, an exhortation on early modern (mis)understandings of racial differences, and an expression of patriarchal power, to name just some of the diverse interpretations that have marked its progress through “Shakespace.”1 Debates...
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This chapter presents a new perspective on the means by which Othello falls from his position of high status both within Venetian society and in the eyes of the play’s audience. By examining the pertinent critical history of Othello, especially criticism accounting for the effects on Othello of lago’s machinations, this analysis explores the social...
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Shortly after midnight on August 9, 1969, as instructed by cult leader Charles Manson, Susan Atkins, Linda Kasabian, Katie Krenwinkel, and Charles Watson unlawfully entered the Hollywood Hills estate of director Roman Polanski and his movie star wife, Sharon Tate. To promote “Helier Skelter,” a horrific dream scheme designed by Manson to effect ult...
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Disrupting the cinematic narrative of Julie Taymor’s Titus (1999), an adaptation of Shakespeare’s Titus Andronicus, is a nightmare sequence in which the newly crowned empress, Tamora, stands face-to-face with her enemy, Titus. Images of dismembered limbs engulfed in flames appear in the background, sailing forward, until they inundate the screen be...
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Shakespeare’s Coriolanus and Brecht’s adaptation of it were written during historical periods of high cultural anxiety and frustration.2 Both works reflect and comment on social, economic, and political problems contemporaneous to their conception. Whereas Brecht makes his purpose for creating Coriolan explicit in his nonfictional writings, he does...
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Dario Fo and Franca Rame, Italy’s infamous married political satirists, have spent over four decades performing and politicking, using the stage to enact a Gramscian reclaiming of popular culture that simultaneously addresses pertinent sociopolitical issues with the goal of empowering the masses. Taking a nonliterary approach to the theatrical text...
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Manhattan, July 7, 1995: On this hot, muggy evening, an audience rapidly filled Lincoln Centers air-conditioned Alice Tully Hall. Whereas the majority probably hailed from New York City and its nearby environs, one member of the audience had driven down from Cambridge and another had flown in from San Diego just to see this particular performance o...
Article
Diacritics 29.3 (1999) 63-80 --Michel de Certeau, Culture in the Plural Through his rigorous examinations of the common, the quotidian, the personal, the plural practices that establish and continually transform societies, Michel de Certeau develops a conception of culture born of the perpetual transgression, however subtle or pronounced, of the bo...
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In this essay, through an examination of its cultural situation, narrative style, and cinematic structure, I hope to explain the controversy that surrounded Roman Polanski's 1971 film version of Macbeth. With both complex cinematic semiology and poignant sociohistorical mediation, Macbeth brings to a critical juncture the philosophies of the 1960s’...
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Theatre Journal 49.2 (1997) 143-167 --Marshall McLuhan Recent work on early modern England's public theatre has been preoccupied with the politics of the drama. Central to this preoccupation is whether particular plays were either critical, subversive or supportive of the government and the dominant systems of belief. This is usually determined thr...
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Full-text available
The United States of America's immediate response to the September 11, 2001 attacks on the World Trade Center and the Pentagon multi-farious, but mainly it was horrific astonishment. The people of this country wanted to know who was responsible and why the attacks were perpetrated. They also wanted to know what the damage was and how to fix it. We...

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