Identity – What Is It, Really, And How Much Can We Truly Choose It For Ourselves?

Kwame Anthony Appiah: “Like all the words in our language, the identity labels we use are a common possession. Were everybody to follow Humpty Dumpty’s example [‘When I use a word, it means just what I choose it to mean’], we simply couldn’t understand one another. If Toni Morrison isn’t a black woman, the term isn’t doing any work. … ‘Lesbian’ isn’t much use if you’re looking for a partner on Bumble unless it signifies a woman who might be open to sex with another woman.”

Maybe Literature Really Is Dead

If so, then modern technology is not the murderer, writes David Ulin. After all, when books had their greatest power and influence (he cites Thomas Paine’s Common Sense as an example), mass-market printing was cutting-edge technology. That’s not to say that today’s technology isn’t involved in the death, though.

Berlin Train Station Gives Up Plan To Use Atonal Music To Drive Away Undesirables

Last month, Germany’s national rail operator announced that it would start broadcasting atonal music from the speakers at Berlin’s Hermannstrasse station in order to repel drug dealers and homeless people who were congregating there. The city’s new-music community rose up in protest. Lisa Benjes of the Initiative Neue Musik writes about how she organized a concert of atonal music at the station that convinced the powers-that-be to abandon that plan.

As New Stories Get Told On Stage, New Forms For Them Challenge Ideas Of ‘Good’ Theatre

Lyn Gardner, in a post-Edinburgh column, considers plays that “have a fractured messiness that upends some of the traditional ways we tell stories on stage. … We need to recognise that what might once have been considered failings are in fact their strength. It is theatre that is as much about disrupting the traditional form as telling stories about women that are different from those traditionally told, if they have been told at all.”

Who’s The Next Ivo Van Hove? The Guardian Picks Five Of Europe’s Hottest Experimental Theatre Directors

Matt Trueman’s list includes an Austrian who has actors lip-sync amid candy-colored stage designs, a Frenchman who stages marathon adaptations of great novels, an Austrian who creates devised theatre with ethnic minority and refugee casts, a Vietnamese-Frenchwoman who draws from both literature and post-colonial experience, and a Croatian whose ferociously confrontational work regularly attracts death threats.