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"Mosley, Nicholas"
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Catastrophe Practices and the Ontological Gambit: Nicholas Mosley’s Plays for Not Acting
This article explores three experimental closet dramas by British writer Nicholas Mosley, part of the novel Catastrophe Practice (1979), which deserve wider recognition in the context of theatre studies’ current focus on catastrophe and futurity. Mosley’s enigmatic “Plays for Not Acting” promote a leap in consciousness, fostering fresh mental patterns to invigorate humanity. This evolutionary leap, which can be practiced for, is akin to a catastrophe as defined by catastrophe theory: a sudden rupture in a seemingly steady state system. Departing from assigned roles, Mosley’s neo-Brechtian actors exhibit self-awareness of their unconvincing performances and moments of deliberate non-action. By abstaining from conventional acting, they create space for a transformational event beyond linguistic expression. The reader/spectator’s comprehension of the irrelevance of dramatic action, dialogue, and plot to the true “catastrophe” taking place offstage is crucial. Mosley’s concept of productive catastrophe offers a compelling dramaturgical innovation, anticipating performance theory’s insights on self-aware performance’s potential to disrupt rote performativity constructively. Mosley presciently links performance and performativity to human survival.
Journal Article
Mosley, Nicholas (3rd Baron Ravensdale) (1923– )
(1923– ),
novelist and biographer, educated at Balliol College, Oxford. His highly intellectual, experimental, and metaphysical novels include
Reference
Quantum Mechanics as Critical Model: Reading Nicholas Mosley's Hopeful Monsters
Literary critics have also begun to adapt the intellectual tools of quantum mechanics to the analysis and interpretation of literature; in fact, so many critics are using new physical theories in criticism that we should now assess the utility and value of using quantum mechanics as a critical model for studying fiction.
Journal Article
PICK OF THE PAPERBACKS
London Irish Rifles and fought his way up through Italy. But he remained suspicious of his own motives and brooded on the possibility of being captured, so that he could avoid being killed.
Newspaper Article
PAPERBACKS
The novelist [NICHOLAS MOSLEY] distanced himself from his fascist father Oswald by fighting in the Second World War and getting an MC into the bargain.
Newspaper Article