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A single production is the point of departure: Isabelle Huppert’s collaboration with director Claude Régy on Sarah Kane’s 4.48 Psychosis. In this production, Huppert was the only speaker and did not move her feet. This essay reads that immobility in relation to debates about the work of stage direction and other accounts of the resistance to movement in contemporary performance. Arguing for a stillness that refuses allegorical translation, the essay strives to understand a theatre piece that refuses most communicative norms, drawing on the onstage performance of Ian Curtis of Joy Division and the dancing chicken from Werner Herzog’s film Stroszek.
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Martin Harries (2017) studied this question.
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