finally on october 9th, 2013 i said it to myself: "don't say anything, ever." i kept repeating that phrase as i drove home. that was all i thought about for hours. that was how i truly felt. the emotions i had were real. my performance almost came to an end. i almost broke down and let go of my character. my strength was tested. my feelings were hurt. then i thought, "how did i get to this point?"

What does artistic resistance look like in the twenty-first century, when disruption and dissent have been co-opted and commodified in ways that reinforce dominant systems? In The Play in the System Anna Watkins Fisher locates the possibility for resistance in artists who embrace parasitism-tactics of complicity that effect subversion from within hegemonic structures. Fisher tracks the ways in which artists on the margins-from hacker collectives like Ubermorgen to feminist writers and performers like Chris Kraus-have willfully abandoned the radical scripts of opposition and refusal long identified with anticapitalism and feminism. Space for resistance is found instead in the mutually, if unevenly, exploitative relations between dominant hosts giving only as much as required to appear generous and parasitical actors taking only as much as they can get away with. The irreverent and often troubling works that result raise necessary and difficult questions about the conditions for resistance and critique under neoliberalism today.

The Beauty Palace - Theatre Play The Beauty Palace is a busy salon where customers can relax, gossip and sort out their complicated love lives. Thrown into the mix is a local inventor of beauty products, who experiments on the salon's customers, often with disastrous results. Running Time Approx: 1 hour Also On Amazon Other Plays by this Author The Green Bananas, Where Were You Last Night, Theatre Wrecks, Daddy's Girl Novels by this Author Halcyon Secret, Blood Slave

A little girl of fifteen is worried about why the rights of her people and that of herself are trampled upon by some individuals when she knows that they are also entitled to some rights in her country's constitution. Her mum is a nurse and her dad is a lawyer but she ignores their efforts to fight for their rights and to take the task upon herself. How was she going to be able to do what grown ups who are also influential in society have failed at? Would she get anywhere with this task? Enjoy

Offering a wide-ranging study of contemporary literature, film, visual art, and performance by writers and artists who live and work in the United Kingdom but also maintain strong ties to postcolonial Africa and the Caribbean, Living Cargo explores how contemporary black British culture makers have engaged with the institutional archives of colonialism and the Atlantic slave trade in order to reimagine blackness in British history and to make claims for social and political redress. Steven Blevins calls this reimagining "unhousing history"-an aesthetic and political practice that animates and improvises on the institutional archive, repurposing it toward different ends and new possibilities. He discusses the work of novelists, including Caryl Phillips, Fred D'Aguiar, David Dabydeen, and Bernardine Evaristo; filmmakers Isaac Julien and Inge Blackman; performance poet Dorothea Smartt; fashion designer Ozwald Boateng; artists Hew Locke and Yinka Shonibare; and the urban redevelopment of Bristol, England, which unfolded alongside the public demand to remember the city's slave-trading past. Living Cargo argues that the colonial archive is neither static nor residual but emergent. By reassembling historical fragments and traces consolidated in the archive, these artists not only perform a kind of counter-historiography, they also imagine future worlds that might offer amends for the atrocities of the past.

Daniel B. Reed integrates individual stories with the study of performance to understand the forces of diaspora and mobility in the lives of musicians, dancers, and mask performers originally from Cote d'Ivoire who now live in the United States. Through the lives of four Ivorian performers, Reed finds that dance and music, being transportable media, serve as effective ways to understand individual migrants in the world today. As members of an immigrant community who are geographically dispersed, these performers are unmoored from their place of origin and yet deeply engaged in presenting their symbolic roots to North American audiences. By looking at performance, Reed shows how translocation has led to transformations on stage, but he is also sensitive to how performance acts as a way to reinforce and maintain community. Abidjan USA provides a multifaceted view of community that is at once local, national, and international, and where identity is central, but transportable, fluid, and adaptable.

Amazing Artwork designed for the lover of secrets and the imaginings of a generation. This is artwork from Surreal Dreams three and four. "I loved the entire thing from start to finish. It grabs the eye and gives one the impression that the impossible is possible. I couldn't put it down " Will K. author of Sable Snow.