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Performing the Queer Past - Public Possessions (Hardcover)
Loot Price: R2,807
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Performing the Queer Past - Public Possessions (Hardcover)
Series: Methuen Drama Agitations: Text, Politics and Performances
Expected to ship within 12 - 17 working days
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'Tender and rigorous, this book invites readers to linger with
difficult pasts and consider how best to grasp their hauntings,
demands and manifestations in the present. This is a book about
mourning as well as holding, a simultaneous act of exhumation and a
laying to rest.' anna six, author of Madness, Art, and Society:
Beyond Illness ‘This is an extraordinary book, in which queer
theatre and performance become sites of celebration and resistance,
as well as holding the potential for performers and audiences to
work through painfully felt yet difficult to articulate experiences
towards feelings of hope. Replete with rigorous, generous and
creative readings, it is also a meditation on Walsh’s own
emotional engagement with queer theatre and performance, and how
our cultural attachments can sustain, enliven and contain us.’
Noreen Giffney, psychoanalytic psychotherapist and author of The
Culture-Breast in Psychoanalysis Why do contemporary queer theatre
and performance appear to be possessed by the past? What aesthetic
practices and dramaturgical devices reveal the occupation of the
present by painful history? How might the experience of theatre and
performance relieve the present of its most arduous burdens?
Following recent legislation and cultural initiatives across many
Western countries hailed as confirming the darkest days for LGBTQ+
people were over, this book turns our attention to artists fixed on
history’s enduring harm. Guiding us through an eclectic range of
examples including theatre, performance, installation and digital
practices, Fintan Walsh explores how this work reckons with complex
cultural and personal histories. Among the issues confronted are
the incarceration of Oscar Wilde, the Holocaust, racial and sexual
objectification, the AIDS crisis and Covid-19, alongside more local
and individual experiences of violence, trauma and grief. Walsh
traces how the queer past is summoned and interrogated via what he
elaborates as the aesthetics and dramaturgies of possession, which
lend form to the still-stinging aches and generative potential of
injury, injustice and loss. These strategies expose how the past
continues to haunt and disturb the present, while calling on those
of us who feel its force to respond to history’s unresolved hurt.
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