The Laughing Maw: A Fool, His Blind Eye, and the Human Condition

Jacob Cornelisz van Oostsanen (attributed), The Laughing Fool, c.1500–1510. Oil on panel. Rijksmuseum Twenthe, Enschede. In art some faces smile, and some rupture. Faces that split open into something older than laughter and far more dangerous. The Laughing Fool belongs among these ruptures. He greets the viewer not with the civility of portraiture but with … Continue reading The Laughing Maw: A Fool, His Blind Eye, and the Human Condition

The Queen in Two Pieces: Mary I, Embalming, and the Illusion of Dignity

I suppose I should confess at the outset that my interest in Queen Mary I’s embalming didn’t spring from some lofty academic impulse, but from years spent in the trade myself — years of sewing mouths shut, persuading stubborn limbs into positions they hadn’t attempted since the Thatcher era, and discovering that even the most … Continue reading The Queen in Two Pieces: Mary I, Embalming, and the Illusion of Dignity

The Resistible Rise of Arturo Ui: A Morality Play for a World That Has Mislaid Its Morals

Sometimes a playwright seizes history by the throat, shakes it like a terrier with a stolen bone, and shouts: ‘Look at this — don’t you dare look away again.’ Bertolt Brecht’s The Resistible Rise of Arturo Ui is one such moment: a gangster parable masquerading as a clown show, a political sermon delivered by a … Continue reading The Resistible Rise of Arturo Ui: A Morality Play for a World That Has Mislaid Its Morals

Ubu Roi: The Crown, the Curse, and the Colossal Belly of Human Folly

If Gogol showed us corruption, and Beckett showed us despair, then Alfred Jarry — bizarre, bicycle-riding prophet of the avant-garde — showed us what happens when civilisation finally gives up pretending to be civil. Ubu Roi isn’t a play; it’s a cultural detonation, a theatrical act of vandalism so gleefully grotesque that even today it … Continue reading Ubu Roi: The Crown, the Curse, and the Colossal Belly of Human Folly