Cyborg Theatre in Wafaa Bilal’s Domestic Tension (2007) | ||||
| Journal of Languages and Translation | ||||
| Volume 12, Issue 1, January 2025, Page 96-107 PDF (531.86 K) | ||||
| Document Type: مقالات بحوث مبتکرة | ||||
| DOI: 10.21608/jltmin.2025.423210 | ||||
 View on SCiNiTO | ||||
| Author | ||||
| Yamna Adel Abd Elrahiem Saadan | ||||
| Department Of English Faculty Of Alsun Minia University Egypt | ||||
| Abstract | ||||
| Technology changes every aspect of our lives. Recently, our bodies and technology have been thoroughly interwoven. This became clear through our reliance on computers, mobile phones, prosthetic devices, and internal mechanical heart valves. One of these significant shifts is the concept of the cyborg, which combines elements of synthetic and technological materials with those of an organic, living body. Bilal, who had been traumatized by the killing of his brother in Iraq by a US drone that had been controlled by US soldiers in Germany, has manufactured a cyborg in his performance Domestic Tension. Through the theory of Cyborg theatre as illustrated in Donna Haraway's Cyborg Manifesto (1985) and Jennifer Parker Starbuck's Cyborg Theatre: Corporeal/Technological Intersections in Multimedia (2011), this research investigates how Bilal uses Cyborg Theatre in his performance Domestic Tension. This paper explores the overlap between technology and new online performances. It also examines the concept of cyborg as it is expounded in Donna Haraway's Cyborg Manifesto (1985). I attempt to investigate how Bilal blends man with machine in his performance Domestic Tension. | ||||
| Keywords | ||||
| Cyborg; Domestic Tension; Donna Haraway; Robotic Gun; Wafaa Bilal | ||||
|
Statistics Article View: 116 PDF Download: 82 |
||||
