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This book analyses the impact of HIV and AIDS on performance in the
twenty-first century from an international perspective. It marks a
necessary reaffirmation of the productive power of performance to
respond to a public and political health crisis and act as a mode
of resistance to cultural amnesia, discrimination and
stigmatisation. It sets out a number of challenges and contexts for
HIV and AIDS performance in the twenty-first century, including:
the financial interests of the pharmaceutical industry; the unequal
access to treatment and prevention technologies in the Global North
and Global South; the problematic division between dominant (white,
gay, urban, cis-male) and marginalised narratives of HIV; the
tension between a damaging cultural amnesia and a potentially
equally damaging partner 'AIDS nostalgia'; the criminalisation of
HIV non-disclosure; and, sustaining and sustained by all of these,
the ongoing stigmatisation of people living with HIV. This
collection presents work from a vast range of contexts, grouped
around four main areas: women's voices and experiences;
generations, memories and temporalities; inter/national narratives;
and artistic and personal reflections and interventions.
This book analyses the impact of HIV and AIDS on performance in the
twenty-first century from an international perspective. It marks a
necessary reaffirmation of the productive power of performance to
respond to a public and political health crisis and act as a mode
of resistance to cultural amnesia, discrimination and
stigmatisation. It sets out a number of challenges and contexts for
HIV and AIDS performance in the twenty-first century, including:
the financial interests of the pharmaceutical industry; the unequal
access to treatment and prevention technologies in the Global North
and Global South; the problematic division between dominant (white,
gay, urban, cis-male) and marginalised narratives of HIV; the
tension between a damaging cultural amnesia and a potentially
equally damaging partner 'AIDS nostalgia'; the criminalisation of
HIV non-disclosure; and, sustaining and sustained by all of these,
the ongoing stigmatisation of people living with HIV. This
collection presents work from a vast range of contexts, grouped
around four main areas: women's voices and experiences;
generations, memories and temporalities; inter/national narratives;
and artistic and personal reflections and interventions.
The immediate post-war period marks a pivotal moment in the
internationalization of American theatre when Tennessee Williams'
plays became some of Broadway's most critically acclaimed and
financially lucrative exports. Dirk Gindt offers a detailed study
of the production and reception of Williams' work on Swedish and
French stages at the height of his popularity between 1945 and
1965. Analysing the national openings of seminal plays, including
The Glass Menagerie, A Streetcar Named Desire, Cat on a Hot Tin
Roof, Orpheus Descending and Suddenly Last Summer, Gindt provides
rich and nuanced insights into Williams' transnational impact. In
the process, he charts a network of fascinating and influential
directors, actors, designers, producers and critics, all of whom
left distinctive marks on mid-twentieth-century European theatre
and culture. Gindt further demonstrates how Williams' work
foregrounded cultural apprehensions, racial fantasies and sexual
anxieties, which resulted in heated debates in the critical and
popular media.
Playing Activists and Dancing Anarchists is a Ph.D. dissertation
that aims to analyse men and masculinities in political
demonstrations and similar manifestations by conceptualising and
analytically approaching such cultural performances as theatrical
events. The case studies include: The large peace demonstration in
Stockholm in February 2003 against the invasion of Iraq; a street
theatre performance by the comedians Kesselofski and Fiske, who
argue against the European Monetary Union; four Social Democratic
May Day celebrations with former prime minister Gran Persson as the
main speaker; two anti-racist demonstrations, one of which leads to
a violent street battle between activists and a riot police squad.
The book proposes Performance Studies as a relevant means of
examining gender in political live events. The different chapters
identify and discuss a broad range of men and masculinities, from a
cowboy-politician and a financial shark to dead political father
figures and masked collectives of martyrs. While violence is a
central theme of the study, it also shows the growing resistance
offered by feminist activists, performers and musicians.
The immediate post-war period marks a pivotal moment in the
internationalization of American theatre when Tennessee Williams'
plays became some of Broadway's most critically acclaimed and
financially lucrative exports. Dirk Gindt offers a detailed study
of the production and reception of Williams' work on Swedish and
French stages at the height of his popularity between 1945 and
1965. Analysing the national openings of seminal plays, including
The Glass Menagerie, A Streetcar Named Desire, Cat on a Hot Tin
Roof, Orpheus Descending and Suddenly Last Summer, Gindt provides
rich and nuanced insights into Williams' transnational impact. In
the process, he charts a network of fascinating and influential
directors, actors, designers, producers and critics, all of whom
left distinctive marks on mid-twentieth-century European theatre
and culture. Gindt further demonstrates how Williams' work
foregrounded cultural apprehensions, racial fantasies and sexual
anxieties, which resulted in heated debates in the critical and
popular media.
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