Although emotional memory in theatre performance has been intensely discussed and practiced through different techniques, most notably by actor-director Konstantin Stanislavski, whose works inspired numerous theatre practitioners, the connection between affect and memory remains strikingly underexplored. Drawing on philosophical arguments by affect theorists Baruch Spinoza, Henri Bergson and Brian Massumi, and on my practice-based research as dramaturg and theatre director, this paper explores the relation between affect and memory in contemporary theatre making and performance.

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