Today, argues Cara Gargano, we are at the cusp of a scientific paradigm shift which is having a profound influence on the way we construct our art and our identity. Like the shift from an oral to a literary mode of communication, or from a geocentric to a heliocentric world view, the movement from a Newtonian to a quantum world view has altered not only the way we understand our universe but the way we write and perform it. In recent years, critics David R. George, Natalie Crohn Schmitt, David Porush, and William Demastes have used terminology and concepts from the ‘new science’ to theorize about theatre. In this article Cara Gargano explores three new works that premiered in the 1995–96 New York City season – Rent, Interfacing Joan, and The Universe (ie, How It Works) – and discusses the way these performances rely, consciously or unconsciously, on this paradigm shift. She proposes that all three plays, while different in style, venue, and narrative, have at their base an assumption of a quantum universe – that is, they create a holistic mythology that gestures toward the theatre's origins as a ritual interaction with our world, and moves from a postmodern to a pre-millennial stance. Cara Gargano is Chair of the Department of Theatre, Film, and Dance at the C. W. Post Campus of Long Island University. She has published in Modern Drama, L'Annuaire Théâtrale, New Theatre Quarterly, and Dance and Research. Her recent article in Reliologiques deals with the myth of Orpheus as a model for the quantum world.
Peer Review #3 of "Rat sightings in New York City are associated with neighborhood sociodemographics, housing characteristics, and proximity to open public space (v0.2)"
