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Can fiction ever be real, and how can we tell if it is?

What is it about?

How strictly is the boundary between autobiography and fiction policed in the 'fake autobiographical' plays of Yama Theatre Productions? Why do we care when a fictional character dies? And how real is our own experience? This article explores the contract drawn between performers and their audiences, and the ways in which this can bring about radical uncertainty.

Why is it important?

This article pulls together several theoretical position that are seldom (never?) applied to theatrical performances.

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The following have contributed to this page:
Simon Lovat
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