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Simon Bayly

University Of Roehampton, Drama, Theatre and Performance, Faculty Member

Roehampton University, Department of Drama, Theatre and Performance, Faculty Member

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I am a teacher, writer and theatre-maker, currently working on Acts of Assembly, a research project exploring the meanings and functions of face-to-face meetings, gatherings and assemblies in an organisational culture saturated with virtual forms of communication.

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Noel B. Salazar

KU Leuven

The University of Texas at Austin

University of British Columbia

Queen's University Belfast

Central European University

Ruben López-Cano

Escola Superior de Música de Catalunya

Kansas State University

University of Kent

Graduate Center of the City University of New York

Shaun Gallagher

University of Memphis

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Drafts by Simon Bayly

A Thing About Meetings

written and presented with Johanna Linsley for the conference 'The University and the Micro-dynam... more

Papers by Simon Bayly

THE END OF THE PROJECT: futurity in the culture of catastrophe

Angelaki, 2013

Departing from the transformation of everyday life into “projects,” this article explores the not... more Departing from the transformation of everyday life into “projects,” this article explores the notion of a future that is radically open, yet foreclosed by catastrophe, notably in relation to climate change. Drawing on Agamben's The Time that Remains, it explores an alternative futurity that interpolates a Pauline messianism with recent thinking on cosmological extinction and capitalism read through the Freudian death drive. In seeking to cheat an economic regime of a violence that paradoxically feeds off the failure to prevent its own destruction, the suggestion is that “the time of the project” itself must be brought to an end.

Carry on camping?

Beyond Failure, 2018

Now and then: psychotherapy and the rehearsal process

Book synopsis: The field of literary studies has long recognised the centrality of psychoanalysis... more Book synopsis: The field of literary studies has long recognised the centrality of psychoanalysis as a method for looking at texts in a new way. But rarely has the relationship between psychoanalysis and performance been mapped out, either in terms of analysing the nature of performance itself, or in terms of making sense of specific performance-related activities. In this volume some of the most distinguished thinkers in the field make this exciting new connection and offer original perspectives on a wide variety of topics, including: · hypnotism and hysteria · ventriloquism and the body · dance and sublimation · the unconscious and the rehearsal process · melancholia and the uncanny · cloning and theatrical mimesis · censorship and activist performance · theatre and social memory. The arguments advanced here are based on the dual principle that psychoanalysis can provide a productive framework for understanding the work of performance, and that performance itself can help to inves...

There’s Something About Things

Angelaki, 2021

The formation of the subject "we" that is politics expands and contracts in asymmetrical cycles. ... more The formation of the subject "we" that is politics expands and contracts in asymmetrical cycles. Versions of "us" are remade in each iteration of this cycle through processes of inclusion and exclusion, increases in contraction, specificity and intensity offset by shifts towards expansion, universality and inclusivity. In different historical times and places, each of these entities is endowed as the agent of politics "proper," as the embodiment of a certain regime of truth and of power.

Peals of Appeal

A Pathognomy of Performance, 2011

Laughter peals. In considering what else peals, aside from laughter, it seems that only bells and... more Laughter peals. In considering what else peals, aside from laughter, it seems that only bells and thunder reverberate in such a fashion: a neat trinity of soundings, the human, the technological and the natural, each more resonant and commanding than the last, variations upon the theme of the humanesque. What the thunder says is open to many interpretations according to folklore and mystical wisdom, but one suggests that a good pealing of bells helps to ward it off.2

The Borrowed Masks of Being

A Pathognomy of Performance, 2011

The masks of comedy and tragedy: the mask as persona, the faces of the dramatis personae. They al... more

The Tonic of the Sonic

A Pathognomy of Performance, 2011

In the opening slow-motion sequence of David Lynch’s Blue Velvet, the hyperreal, innocence of sub... more In the opening slow-motion sequence of David Lynch’s Blue Velvet, the hyperreal, innocence of suburban America is drenched in an intense white light, only to be superseded by the darkness, mystery and evil of an entirely different world beneath. The film manages the transition between these two realms via the ear: the protagonist discovers a severed ear in a grassy patch of derelict land; the camera descends upon the ear and then into it, twisting down the coils and convolutions of that most complex of organs, whose anatomy is so difficult to visualize and, relative to the eye, so poorly understood.

Wrinkles, Furrows and Folds

A Pathognomy of Performance, 2011

The scene in Figure 3 depicts, without doubt, a disquieting event: a dramatic instant of expressi... more The scene in Figure 3 depicts, without doubt, a disquieting event: a dramatic instant of expression both violent and ambiguous. What is the proper emotional response to such an image, evidently staged for our benefit? Perhaps an instinctive mirroring of the fear (or is it terror?) expressly inscribed on the chalky white face of the Christ-like innocent at the centre of the photograph, surrounded by the darker forces of God knows what. But, then again, is this event a tragedy or a comedy? Should one laugh or cry? Or permit one’s interest to be led by the gaze, mobilizing the critical faculty of thought, or rather, out of respect, feign disinterest? Or look away in disgust or avert one’s eyes out of shame? And is not the cause of our confusion precisely the issue of resemblance, or lack of it, at the heart of expression? For, in the shadow of the preceding discussion, what appears to be being expressed in this image is the fear (which is also a form of excitation) that not only does ‘what is expressed’ bear no resemblance to the expression (fear of what? — what is there to be afraid of in this picture, or just beyond the margins of its frame?) but that it no longer even relates essentially to what expresses itself, to the figure whose face bears an expression that does not seem to belong to him. If so, we might conclude that what appears in the instant fixed by this image is the very horror of the abstract machine of faciality itself, which has demonically installed itself in the body of a human being and is making its face express — what? Open image in new window Figure 3 Uncropped photograph illustrating Guillaume Duchenne de Boulogne’s method of localized electrization to elicit facial expression, in this case illustrating the emotion of ‘terror’, c.1860 Source: Ecole Nationale Superieure, Beaux-arts, Paris.

Points of Suspension

A Pathognomy of Performance, 2011

Anomalous Appearances

A Pathognomy of Performance, 2011

Anomalous Appearances Celebrity skin and the fortunes of the flesh The tradition of the British C... more Anomalous Appearances Celebrity skin and the fortunes of the flesh The tradition of the British Christmas pantomime has thrived on appearances in the flesh by innumerable TV soap opera actors, presenters, comedians and sports personalities. Yet these performances were-and to a great extent still are-strictly local, low-brow, tongue-in-cheek events. However, internationally known actors, whose celebrity has been entirely manufactured by the industry of cinema, have 'returned' to the stage, notably in London's West End, for serious roles in more or less serious drama. Older luminaries such as Donald Sutherland and Kathleen Turner through Kevin Spacey, Nicole Kidman, Juliette Binoche to younger actors such as Jude Law, Rachel Weisz and Keira Knightley are among dozens who have appeared on London's stages in recent years, many of them in productions at the Almeida or Donmar Warehouse theatres, regarded as the jewels in the crown of sophisticated production houses in London. Regardless of the confessions of the celebrities themselves to the excitement, fear and trembling that they feel at the honourable idea of performing 'live' after so many years of so many cinematic takes, a cynical view might assess this phenomenon as a somewhat tawdry but successful attempt by companies facing financial difficulties and rapidly ageing audiences to attract a wider public, usurping the integrity of the drama itself. Such a view might consider that any new audience drawn into the theatre by the name of a Hollywood star, possibly with the promise that he or she will be delivered in a state of undress, will merely have reflected back to them the image of celebrity that has already been formed in their minds by the ideology of commercial cinema. The play, whatever it is, will be irrelevant, functioning only as the pretext for the appearance of the star in the likeness or his or her own image. To the eyes and ears of such a sensibility, the Hollywood cinema star on stage is almost repulsive, because utterly bare of pretext, his or her presence destroys the context of the drama in the very act of appearing. Such a sensibility, just a fiction exaggerated for rhetorical purposes here, would appear to be the

Instants of Affection

A Pathognomy of Performance, 2011

The previous chapter began with the experience of two inaugural moments of performance, a disaste... more The previous chapter began with the experience of two inaugural moments of performance, a disaster and a fiasco. Both touched on a particular spectatorial sensibility, that of the ‘existential-phenomenological thrill’. However, in a consideration of the drama of disaster and the separating power of spectacle, the experience of audience has been neglected in favour of the audience of experience, marked by the alienating power of representation momentarily overcome in what I have called points of suspension.

Deleted Expletives

A Pathognomy of Performance, 2011

After the Event

A Pathognomy of Performance, 2011

These images were taken during a school half-term family holiday to the Cornish coast in England ... more These images were taken during a school half-term family holiday to the Cornish coast in England in 2006. Without really understanding the set-up, we had booked into a converted farm that turned out to be regularly used as a holiday retreat for a dozen or so extended families with children aged from 2 to around 16. These families return to the place every year, with some parents continuing a tradition they entered themselves as children decades earlier. For this kind of English holiday destination, though fairly homogeneous in comparison to the typical metropolitan mix of ethnicities, this is a very mixed bunch in terms of class, economic and professional backgrounds. In conversation, they appreciate its rough and ready simplicity and the opportunity to temporarily gather as a community of sorts, who, on the face of it, have very little in common. However, this history appeared to be drawing to a close. The owners of the farm, then in their seventies and needing to downscale, were planning to sell it off piecemeal at market rates, with regular visitors getting first call. But, given Cornwall’s rising status as the second-home location of choice for the affluent from elsewhere in the country, very few of the families visiting that week could even contemplate the gigantic sums involved and so faced the loss of this amenity.

Logics of Expression

A Pathognomy of Performance, 2011

In Deleuze’s writing, concepts are nomadic things: always on the move, always being created anew.... more In Deleuze’s writing, concepts are nomadic things: always on the move, always being created anew. Nevertheless, in an early thesis submitted for his professorship, Expressionism in Philosophy: Spinoza, Deleuze began to articulate a philosophy of immanence which never subsequently disappeared from his thought, though it went by several other names. The logics of sense or ‘becoming’ in Deleuze’s more well-known works are but mutations of the logic of expression that he reads into his beloved Spinoza, ‘the “prince” of philosophers’.1

Deleted Expletives: Vibration and the Modernist Vocal Imaginary

Vibratory Modernism, 2013

Recent considerations of sound, music, voice and noise have opened up alternatives to what has be... more Recent considerations of sound, music, voice and noise have opened up alternatives to what has been characterised as the ‘death circuit’ of modernity, polarised between ‘the disembodied voice of mass communications, and the non-vocal, non-sounding, anaerobic voice of the mind’.1 These approaches often depict western modernity as beset by a cultural desiccation of the moist and fecund sonic ecologies to be found in other cultures and historical epochs. Whilst a re-engagement with the thinking through vibration, as it were, that emerged in the nineteenth century has produced more complex and contradictory accounts of the emergence of the modern sensorium, it remains the case that bodies and expressive individualism have been, to a significant extent, displaced from their previous humanistic centrality. Instead, this revised history situates the human organism as a relay in the transmission of more or less impersonal energies, which are in turn harnessed to the prosthetic expansion of human communicative capacities through technologies such as the phonograph, telephone and their digital progeny.

Figuring the Face

Http Dx Doi Org 10 1080 13528160902875606, Mar 10, 2010

Spit Not in the Fire—t he Art of Manners

Performance Research, 2004

A Pathognomy of Performance

List of Illustrations Acknowledgements Introduction Strains of Thought Points of Suspension Insta... more

A Thing About Meetings

written and presented with Johanna Linsley for the conference 'The University and the Micro-dynam... more

THE END OF THE PROJECT: futurity in the culture of catastrophe

Angelaki, 2013

Departing from the transformation of everyday life into “projects,” this article explores the not... more Departing from the transformation of everyday life into “projects,” this article explores the notion of a future that is radically open, yet foreclosed by catastrophe, notably in relation to climate change. Drawing on Agamben's The Time that Remains, it explores an alternative futurity that interpolates a Pauline messianism with recent thinking on cosmological extinction and capitalism read through the Freudian death drive. In seeking to cheat an economic regime of a violence that paradoxically feeds off the failure to prevent its own destruction, the suggestion is that “the time of the project” itself must be brought to an end.

Carry on camping?

Beyond Failure, 2018

Now and then: psychotherapy and the rehearsal process

Book synopsis: The field of literary studies has long recognised the centrality of psychoanalysis... more Book synopsis: The field of literary studies has long recognised the centrality of psychoanalysis as a method for looking at texts in a new way. But rarely has the relationship between psychoanalysis and performance been mapped out, either in terms of analysing the nature of performance itself, or in terms of making sense of specific performance-related activities. In this volume some of the most distinguished thinkers in the field make this exciting new connection and offer original perspectives on a wide variety of topics, including: · hypnotism and hysteria · ventriloquism and the body · dance and sublimation · the unconscious and the rehearsal process · melancholia and the uncanny · cloning and theatrical mimesis · censorship and activist performance · theatre and social memory. The arguments advanced here are based on the dual principle that psychoanalysis can provide a productive framework for understanding the work of performance, and that performance itself can help to inves...

There’s Something About Things

Angelaki, 2021

The formation of the subject "we" that is politics expands and contracts in asymmetrical cycles. ... more The formation of the subject "we" that is politics expands and contracts in asymmetrical cycles. Versions of "us" are remade in each iteration of this cycle through processes of inclusion and exclusion, increases in contraction, specificity and intensity offset by shifts towards expansion, universality and inclusivity. In different historical times and places, each of these entities is endowed as the agent of politics "proper," as the embodiment of a certain regime of truth and of power.

Peals of Appeal

A Pathognomy of Performance, 2011

Laughter peals. In considering what else peals, aside from laughter, it seems that only bells and... more Laughter peals. In considering what else peals, aside from laughter, it seems that only bells and thunder reverberate in such a fashion: a neat trinity of soundings, the human, the technological and the natural, each more resonant and commanding than the last, variations upon the theme of the humanesque. What the thunder says is open to many interpretations according to folklore and mystical wisdom, but one suggests that a good pealing of bells helps to ward it off.2

The Borrowed Masks of Being

A Pathognomy of Performance, 2011

The masks of comedy and tragedy: the mask as persona, the faces of the dramatis personae. They al... more

The Tonic of the Sonic

A Pathognomy of Performance, 2011

In the opening slow-motion sequence of David Lynch’s Blue Velvet, the hyperreal, innocence of sub... more In the opening slow-motion sequence of David Lynch’s Blue Velvet, the hyperreal, innocence of suburban America is drenched in an intense white light, only to be superseded by the darkness, mystery and evil of an entirely different world beneath. The film manages the transition between these two realms via the ear: the protagonist discovers a severed ear in a grassy patch of derelict land; the camera descends upon the ear and then into it, twisting down the coils and convolutions of that most complex of organs, whose anatomy is so difficult to visualize and, relative to the eye, so poorly understood.

Wrinkles, Furrows and Folds

A Pathognomy of Performance, 2011

The scene in Figure 3 depicts, without doubt, a disquieting event: a dramatic instant of expressi... more The scene in Figure 3 depicts, without doubt, a disquieting event: a dramatic instant of expression both violent and ambiguous. What is the proper emotional response to such an image, evidently staged for our benefit? Perhaps an instinctive mirroring of the fear (or is it terror?) expressly inscribed on the chalky white face of the Christ-like innocent at the centre of the photograph, surrounded by the darker forces of God knows what. But, then again, is this event a tragedy or a comedy? Should one laugh or cry? Or permit one’s interest to be led by the gaze, mobilizing the critical faculty of thought, or rather, out of respect, feign disinterest? Or look away in disgust or avert one’s eyes out of shame? And is not the cause of our confusion precisely the issue of resemblance, or lack of it, at the heart of expression? For, in the shadow of the preceding discussion, what appears to be being expressed in this image is the fear (which is also a form of excitation) that not only does ‘what is expressed’ bear no resemblance to the expression (fear of what? — what is there to be afraid of in this picture, or just beyond the margins of its frame?) but that it no longer even relates essentially to what expresses itself, to the figure whose face bears an expression that does not seem to belong to him. If so, we might conclude that what appears in the instant fixed by this image is the very horror of the abstract machine of faciality itself, which has demonically installed itself in the body of a human being and is making its face express — what? Open image in new window Figure 3 Uncropped photograph illustrating Guillaume Duchenne de Boulogne’s method of localized electrization to elicit facial expression, in this case illustrating the emotion of ‘terror’, c.1860 Source: Ecole Nationale Superieure, Beaux-arts, Paris.

Points of Suspension

A Pathognomy of Performance, 2011

Anomalous Appearances

A Pathognomy of Performance, 2011

Anomalous Appearances Celebrity skin and the fortunes of the flesh The tradition of the British C... more Anomalous Appearances Celebrity skin and the fortunes of the flesh The tradition of the British Christmas pantomime has thrived on appearances in the flesh by innumerable TV soap opera actors, presenters, comedians and sports personalities. Yet these performances were-and to a great extent still are-strictly local, low-brow, tongue-in-cheek events. However, internationally known actors, whose celebrity has been entirely manufactured by the industry of cinema, have 'returned' to the stage, notably in London's West End, for serious roles in more or less serious drama. Older luminaries such as Donald Sutherland and Kathleen Turner through Kevin Spacey, Nicole Kidman, Juliette Binoche to younger actors such as Jude Law, Rachel Weisz and Keira Knightley are among dozens who have appeared on London's stages in recent years, many of them in productions at the Almeida or Donmar Warehouse theatres, regarded as the jewels in the crown of sophisticated production houses in London. Regardless of the confessions of the celebrities themselves to the excitement, fear and trembling that they feel at the honourable idea of performing 'live' after so many years of so many cinematic takes, a cynical view might assess this phenomenon as a somewhat tawdry but successful attempt by companies facing financial difficulties and rapidly ageing audiences to attract a wider public, usurping the integrity of the drama itself. Such a view might consider that any new audience drawn into the theatre by the name of a Hollywood star, possibly with the promise that he or she will be delivered in a state of undress, will merely have reflected back to them the image of celebrity that has already been formed in their minds by the ideology of commercial cinema. The play, whatever it is, will be irrelevant, functioning only as the pretext for the appearance of the star in the likeness or his or her own image. To the eyes and ears of such a sensibility, the Hollywood cinema star on stage is almost repulsive, because utterly bare of pretext, his or her presence destroys the context of the drama in the very act of appearing. Such a sensibility, just a fiction exaggerated for rhetorical purposes here, would appear to be the

Instants of Affection

A Pathognomy of Performance, 2011

The previous chapter began with the experience of two inaugural moments of performance, a disaste... more The previous chapter began with the experience of two inaugural moments of performance, a disaster and a fiasco. Both touched on a particular spectatorial sensibility, that of the ‘existential-phenomenological thrill’. However, in a consideration of the drama of disaster and the separating power of spectacle, the experience of audience has been neglected in favour of the audience of experience, marked by the alienating power of representation momentarily overcome in what I have called points of suspension.

Deleted Expletives

A Pathognomy of Performance, 2011

After the Event

A Pathognomy of Performance, 2011

These images were taken during a school half-term family holiday to the Cornish coast in England ... more These images were taken during a school half-term family holiday to the Cornish coast in England in 2006. Without really understanding the set-up, we had booked into a converted farm that turned out to be regularly used as a holiday retreat for a dozen or so extended families with children aged from 2 to around 16. These families return to the place every year, with some parents continuing a tradition they entered themselves as children decades earlier. For this kind of English holiday destination, though fairly homogeneous in comparison to the typical metropolitan mix of ethnicities, this is a very mixed bunch in terms of class, economic and professional backgrounds. In conversation, they appreciate its rough and ready simplicity and the opportunity to temporarily gather as a community of sorts, who, on the face of it, have very little in common. However, this history appeared to be drawing to a close. The owners of the farm, then in their seventies and needing to downscale, were planning to sell it off piecemeal at market rates, with regular visitors getting first call. But, given Cornwall’s rising status as the second-home location of choice for the affluent from elsewhere in the country, very few of the families visiting that week could even contemplate the gigantic sums involved and so faced the loss of this amenity.

Logics of Expression

A Pathognomy of Performance, 2011

In Deleuze’s writing, concepts are nomadic things: always on the move, always being created anew.... more In Deleuze’s writing, concepts are nomadic things: always on the move, always being created anew. Nevertheless, in an early thesis submitted for his professorship, Expressionism in Philosophy: Spinoza, Deleuze began to articulate a philosophy of immanence which never subsequently disappeared from his thought, though it went by several other names. The logics of sense or ‘becoming’ in Deleuze’s more well-known works are but mutations of the logic of expression that he reads into his beloved Spinoza, ‘the “prince” of philosophers’.1

Deleted Expletives: Vibration and the Modernist Vocal Imaginary

Vibratory Modernism, 2013

Recent considerations of sound, music, voice and noise have opened up alternatives to what has be... more Recent considerations of sound, music, voice and noise have opened up alternatives to what has been characterised as the ‘death circuit’ of modernity, polarised between ‘the disembodied voice of mass communications, and the non-vocal, non-sounding, anaerobic voice of the mind’.1 These approaches often depict western modernity as beset by a cultural desiccation of the moist and fecund sonic ecologies to be found in other cultures and historical epochs. Whilst a re-engagement with the thinking through vibration, as it were, that emerged in the nineteenth century has produced more complex and contradictory accounts of the emergence of the modern sensorium, it remains the case that bodies and expressive individualism have been, to a significant extent, displaced from their previous humanistic centrality. Instead, this revised history situates the human organism as a relay in the transmission of more or less impersonal energies, which are in turn harnessed to the prosthetic expansion of human communicative capacities through technologies such as the phonograph, telephone and their digital progeny.

Figuring the Face

Http Dx Doi Org 10 1080 13528160902875606, Mar 10, 2010

Spit Not in the Fire—t he Art of Manners

Performance Research, 2004

A Pathognomy of Performance

List of Illustrations Acknowledgements Introduction Strains of Thought Points of Suspension Insta... more

We Can't Go On Meeting Like This

Nordic Journal of Linguistics, 1995

The article investigates the meeting between linguistics and literary theory under the auspices o... more The article investigates the meeting between linguistics and literary theory under the auspices of cognitive grammar. First, it places this recent meeting in contrast to the relation between the two under structuralism; second, it sketches the philosophical foundations of cognitive linguistics in a series of related ideal types, such as cognitivism, diagrammatism, gestaltism, phenomenology, etc.; third, it investigates the literary theory of cognitive semantics in Lakoff and Turner's More Than Cool Reason as a background for some critical remarks.

A Pathognomy of Performance: Theatre, Performance and the Ethics of Interruption [2002 thesis version]

This book-length work offers a theatre-philosophy in the form of an ethics of appearing. Drawing ... more This book-length work offers a theatre-philosophy in the form of an ethics of appearing. Drawing on the work of contemporary philosophers, such as Nancy, Derrida, Lingis, Lévinas, Blanchot, Badiou and Deleuze, it elaborates the theme of ‘becoming unaccommodated’. Within this theme, anomalous disturbances in normal ‘states of affairs’, both on and off-stage, are shown to give rise to a specifically ethical experience of audience. Pathognomy, the art of tracking the ephemeral or elusive across varied terrain, as opposed to the systematizing impulse of physiognomy and its logic of recognition, is revived as an approach to exploring this phenomenon. Its defining feature is its manifestation as an event, a key term in contemporary ‘Continental’ philosophy.
Bringing together a wide variety of source material drawn from theatre and performance studies, philosophy, psychology, and cultural studies, the early chapters explore the experience of audience as the audience of experience. They examine particular forms of theatrical appearing and spectatorship, notions of fiasco and disaster underpinning performance, and an ethics of theatrical experience. Shifting in scale from the macro to the micro level, these concerns are then focused around an engagement with the face as the prime figure of appearance, elaborated in the ethical philosophy of Emmanuel Lévinas and ‘disfigured’ in the garish symbol that stands for theatre – the masks of comedy and tragedy. The face and subsequently its oral/aural counterpart, the voice, are investigated via a logic of appearing or expression, a previously neglected and discredited concept. Expression is reanimated as an alternative to the tragic logic of representation. The anomalies of expression are explored via iconic images in artistic and scientific works deploying theatricalized presentations of human emotion, as well as via phenomenological consideration of other varieties of theatrical appearing, visual representation, everyday behaviour and non-linguistic utterance.

A Pathognomy of Performance [2011 book version]

Published book, revised from 2002 thesis, with additional chapter.

The Art of Research

Talk on practice-as-research, given at the Central School of Speech and Drama London at research ... more

Six Impossible Things Before Breakfast (when designing practice-as-research programmes in higher education)

This text represents the -relatively -formal part of an informal presentation, which started with... more

Introduction to Babel of Tower: A Report to the Academy

I Have a Very Nervous System

Resonant Cavities: An Ethico-Acoustic Appreciation of Vibration

Paper given at Performance Studies International, Mainz, 2001.

Babel of Tower: A Report to the Academy

Zero is not a Number