Geoarchaeology and taphonomy of plant remains in early urban environments in the Ancient Near East

A number of recent articles emphasize the fundamental importance of taphonomy and formation processes to interpretation of plant remains assemblages, as well as the value of interdisciplinary approaches to studies of environmental change and ecological and social practices. This paper examines ways in which micromorphology can contribute to integrating geoarchaeology and archaeobotany in analysis of the taphonomy and context of plant remains and ecological and social practices. Micromorphology enables simultaneous in situ study of diverse plant materials and thereby traces of a range of depositional pathways and histories. In addition to charred plant remains, also often preserved in semi-arid environments are plant impressions, phytoliths and calcitic ashes. These diverse plant remains are often routinely separated and extracted from their depositional context or lost using other analytical techniques, thereby losing crucial evidence on taphonomy, formation processes and contextual associations, which are fundamental to all subsequent interpretations. Although micromorphological samples are small in comparison to bulk flotation samples of charred plant remains, their size is similar to phytolith and pollen samples. In this paper, key taphonomic issues are examined in the study of: fuel; animal dung, animal management and penning; building materials; and specific activities, including food storage and preparation and ritual, using selected case-studies from early urban settlements in the Ancient Near East. Microarchaeological residues and experimental archaeology are also briefly examined.

The domestication of water: water management in the ancient world and its prehistoric origins in the Jordan Valley

The ancient civilizations were dependent upon sophisticated systems of water management. The hydraulic engineering works found in ancient Angkor (ninth to thirteenth century AD), the Aztec city of Tenochtitlan (thirteenth to fifteenth century AD), Byzantine Constantinople (fourth to sixth century AD) and Nabatean Petra (sixth century BC to AD 106) are particularly striking because each of these is in localities of the world that are once again facing a water crisis. Without water management, such ancient cities would never have emerged, nor would the urban communities and towns from which they developed. Indeed, the ‘domestication’ of water marked a key turning point in the cultural trajectory of each region of the world where state societies developed. This is illustrated by examining the prehistory of water management in the Jordan Valley, identifying the later Neolithic (approx. 8300–6500 years ago) as a key period when significant investment in water management occurred, laying the foundation for the development of the first urban communities of the Early Bronze Age.

'Youth language' in ancient Rome

This article presents some of the findings of a UROP project, collecting the evidence for youth language phenomena in the ancient world (with a focus on the Roman Empire).

'Love me or kill me’: Sarah Kane & the theatre of extremes

Monograph on the playwright Sarah Kane

'A theatre of ruins'. Edward Bond & Samuel Beckett: theatrical antagonists

The playwright Edward Bond has long made known his antagonism to dramatists allied to Martin Esslin’s Theatre of the Absurd. The work of Samuel Beckett has come in for particular criticism by Bond. Using published writings (and unpublished correspondence between myself and Bond), I hope to trace the development of this antagonism between ‘Bondian’ and ‘Beckettian’ views of theatre. However, this article will also set out to argue that both early work such as The Pope’s Wedding (1962), and more recent work such as Coffee (1995), make use of motifs, characters and ideas from Beckett’s theatre. The article will set out provisional reasons why Bond, despite his misgivings, is not averse to incorporating elements from Beckett’s ‘theatre of ruins’, as he terms it, into his own work.

Voice, body and the transmission of the real in documentary theatre

This article analyses how listening is used to develop performances in Alecky Blythe’s verbatim theatre. Listening includes Blythe’s use of recorded oral interviews for devising performances, and also the actors’ creation of performance by precisely imitating an interviewee’s voice. The article focuses on listening, speaking and embodiment in London Road, Blythe’s recent musical play at London’s National Theatre, which adopted and modified theatre strategies used in her other plays, especially The Girlfriend Experience and Do We look Like Refugees. The article draws on interviews with performers and with Blythe herself, in its critical analysis of how voice legitimates claims to authenticity in performance. The work on Blythe is contextualised by brief comparative analyses. One is Clio Barnard’s film The Arbor, a ‘quasi-documentary’ on the playwright, Andrea Dunbar which makes use of an oral script to which the actors lip-sync. The other comparator is the Wooster Group’s Poor Theater, which attempts to recreate Grotowski's Akropolis via vocal impersonation. The article argues that voice in London Road both claims and defers authenticity and authority, inasmuch as voice signifies presence and embodied identity but the reworking of speech into song signals the absence of the real. The translation of voice into written surtitles works similarly in Do We Look Like Refugees. Blythe’s theatre, Barnard’s film and The Wooster Group’s performances are a useful framework for addressing questions of voice and identity, and authenticity and replication in documentary theatre. The article concludes by placing Blythe’s oral texts amid current debates around theatre’s textual practices.