This paper provides an assessment of Martin Crimp's The City (2008). The City opens with a dialogue between a middle class couple. Despite the play's seemingly linear narrative, a myriad of pointers are gradually added, which exhibit Crimp's abstaining from the realist style. In the play, daily dialogues are mixed with images of war, which little by little fuse with the becomings of pale city life and glaringly bring out the affects related to the War on Terror. The audience is led to look into the female protagonist's detachment from an affluent but monotonous city life, the unfolding of an imagined but palpable urban landscape in her heart, and the brutish terrains in the world after the September 11 attacks. Drawing on the work of Deleuze and Guatarri on literature and art, this article situates the play in the context of postdramatic theatre, and discusses the topic of representation and the becomings related to the image of war in the play. In conclusion, I offer thoughts on Crimp's questioning of theatre aesthetics and the modern world.
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