Abstract
The article documents the 1992 Tramway production of The World's Edge, devised by the Scottish performance company Clanjamfrie. The production responded to the quincentenary of Columbus’ arrival in the Americas by collaging found texts, personal memories, movement sequences, video, film, and music, to set aspects of American history against issues of identity and representation in a culture saturated with media images of America. In the context of recent debates about the treatment of history and politics in post‐modern theatre, it is suggested that it has characteristics of a theatre of resistance which Auslander has identitified as displacing previous models of a theatre of transgression, exemplifying a practice which, in Hutcheon's terms, is inside yet outside, complicitous yet critical of the cultural dominant.
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