Teresa Botelho, Associate Professor of American Studies, Social and Human Sciences, Nova University of Lisbon, teaches American Studies. She is also a member of the research group Mapping Utopianisms (CETAPS). She has published extensively on African American and Asian American culture and literature, American theater and drama, as well as science fiction and dystopian literature. Her current interests include technological utopias/dystopias and the post-human, post-black literature, identity theory in its intersections with utopia, visual culture and cinema, and the intersections between science, visual culture, and literature, especially in drama.
Bringing the act of artistic creation to the stage involves a multiplicity of strategies and interrogations that are not easily contained within the boundaries of the “drama of the artist” as understood in its quasi-biographical sense. This is especially true of visual art which cannot be represented by words only but requires a different kind of presence on stage. In many Künstlerdramas the biographical presence tends to impose recognizable limits to the fictionalization exercise, which frequently turns to the individual creator as the center of an inquiry into the problematics of artistry. This paper discusses how two contemporary Künstlerdramas, John Logan’s Red (2009) and John Murrell’s The Far Away Nearby (1996), attempt to reinvent the trope by weaving the biographical record with the performative presence of acts of staged visuality that re-center the act of artistic creation. (TB)