A tweet by American actor and activist Alyssa Milano, sent on
October 15, 2017, opened the floodgates to an outpouring of
testimony and witnessing across the Twitterverse that reverberated
throughout social media. Facebook status lines quickly began to
read “Me too,” and #MeToo was trending. That tweet re-launched
the ‘me too’ movement, which was started in 2006 by Tarana
Burke. Performing #MeToo: How Not to Look Away does not attempt to
deliver a comprehensive examination of how #MeToo is performed.
What it does aim at presenting is a set of perspectives on the
events identified as representative of the movement through a lens
or lenses that are multinational, as well as work and analysis from
a variety of time periods, written in a diversity of styles. By
providing this means of engaging with examples of the many
interpretations of and responses to the #MeToo movement, and by
identifying these responses (and those of audiences) as
provocations, of examples of how not to look away, the collected
chapters are intended to invite reflection, discussion and,
hopefully, incite action. It gives writers from diverse cultural
and environmental contexts an opportunity to speak about this
cultural moment in their own voices. There is a wide geographical
range and variety of forms of performance addressed in this timely
new book. The international group of contributors are based in the
UK, USA, Australia, South Africa, Scotland, Canada, India, Italy
and South Korea. The topics addressed by writers include socially
engaged practice; celebrity feminism, archive and repertoire;
rape/war; misogynistic speech; stage management and intimacy
facilitation; key institutions’ responses; spatial practices as
well as temporal ones; academic call-outs; caste/class; political
contexts; adaptation of classic texts; activist events; bouffon (a
clown technique) and audience response Forms of performance
practice include applied theatre, performance protest, verbatim,
solo performance, institutional practice, staging of plays, street
responses, academic, adaptation of classic text, play reading
events and the musical. Although there is much to read in the media
and alternative media on the #MeToo movement, this is the first
attempt to analyse the movement from and in such diverse contexts.
Bringing together twelve writers to speak about works they have
either performed, witnessed or studied gives the reader a nuanced
way of looking at the movement and its impact. It is also an
incredible archive of this moment in time that points to its
importance. Suitable for use in several graduate and
undergraduate courses, including performance studies, feminist
studies, sociology, psychology, anthropology, environmental or
liberal studies and social history. Essential reading for theatre
workers, academics, students, and anyone with an interest in
feminism, contemporary theatre or human rights. For artists
considering projects that include the themes of #MeToo, and for
producers and directors of such projects looking for good practices
around how to create environments of safety in their organizations,
as well as those who wish to organize communities of artists. For
anyone interested in learning more about how to support the
movement, or an interest in the specific social narratives told in
each individual chapter. For women, feminists and anyone with an
interest in the issues.
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