Catastrophe Practices and the Ontological Gambit: Nicholas Mosley's Plays for Not Acting

Abstract:

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.