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This book stages a timely discussion about the centrality of
identity politics to theatre and performance studies. It
acknowledges the important close relationship between the
discourses and practices historically while maintaining that
theatre and performance can enlighten ways of being with others
that are not limited by conventional identitarian languages. The
essays engage contemporary theatre and performance practices that
pose challenging questions about identity, as well as subjectivity,
relationality, and the politics of aesthetics, responding to
neo-liberal constructions and exploitations of identity by seeking
to discern, describe, or imagine a new political subject. Chapters
by leading international scholars look to visual arts practice,
digital culture, music, public events, experimental theatre, and
performance to investigate questions about representation,
metaphysics, and politics. The collections seeks to foreground
shared, universalist connections that unite rather than divide,
visiting metaphysical questions of being and becoming, and the
possibilities of producing alternate realities and relationalities.
The book asks what is at stake in thinking about a subject, a time,
a place, and a performing arts practice that would come 'after'
identity, and explores how theatre and performance pose and
interrogate these questions.
This book examines the surge of queer performance produced across
Ireland since the first stirrings of the Celtic Tiger in the
mid-1990s, up to the passing of the Marriage Equality referendum in
the Republic in 2015.
This book examines the surge of queer performance produced across
Ireland since the first stirrings of the Celtic Tiger in the
mid-1990s, up to the passing of the Marriage Equality referendum in
the Republic in 2015.
The highly performative categories of 'Irish culture' and
'Irishness' are in need of critical address, prompted by recent
changes in Irish society, the arts industry and modes of critical
inquiry. This book broaches this task by considering Irish
expressive culture through some of the paradigms and vocabularies
offered by performance studies.
The highly performative categories of 'Irish culture' and
'Irishness' are in need of critical address, prompted by recent
changes in Irish society, the arts industry and modes of critical
inquiry. This book broaches this task by considering Irish
expressive culture through some of the paradigms and vocabularies
offered by performance studies.
The highly performative categories of 'Irish culture' and
'Irishness' are in need of critical address, prompted by recent
changes in Irish society, the arts industry and modes of critical
inquiry. This book broaches this task by considering Irish
expressive culture through some of the paradigms and vocabularies
offered by performance studies.
'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.
To what extent is theatre a contagious practice, capable of undoing
and enlivening people and cultures? Theatres of Contagion responds
to some of the anxieties of our current political and cultural
climate by exploring theatre's status as a contagious cultural
force, questioning its role in the spread or control of medical,
psychological and emotional conditions and phenomena. Observing a
diverse range of practices from the early modern to contemporary
period, the volume considers how this contagion is understood to
happen and operate, its real and imagined effects, and how these
have been a source of pleasure and fear for theatre makers,
audiences and authorities. Drawing on perspectives from medicine,
neuroscience, psychology, anthropology, philosophy, law and affect
theory, essays investigate some of the ways in which theatre can be
viewed as a powerful agent of containment and transmission. Among
the works analysed include a musical adaptation and an
intercultural variation of Shakespeare's Romeo and Juliet; a
contemporary queer take on Hamlet; Grand Guignol and theatres of
horror; the writings and influence of Artaud; immersive theatre and
the work of Punchdrunk, and computer gaming and smartphone apps
To what extent is theatre a contagious practice, capable of undoing
and enlivening people and cultures? Theatres of Contagion responds
to some of the anxieties of our current political and cultural
climate by exploring theatre's status as a contagious cultural
force, questioning its role in the spread or control of medical,
psychological and emotional conditions and phenomena. Observing a
diverse range of practices from the early modern to contemporary
period, the volume considers how this contagion is understood to
happen and operate, its real and imagined effects, and how these
have been a source of pleasure and fear for theatre makers,
audiences and authorities. Drawing on perspectives from medicine,
neuroscience, psychology, anthropology, philosophy, law and affect
theory, essays investigate some of the ways in which theatre can be
viewed as a powerful agent of containment and transmission. Among
the works analysed include a musical adaptation and an
intercultural variation of Shakespeare's Romeo and Juliet; a
contemporary queer take on Hamlet; Grand Guignol and theatres of
horror; the writings and influence of Artaud; immersive theatre and
the work of Punchdrunk, and computer gaming and smartphone apps
In the wake of Ireland's recent economic rise, fall, and associated
social crises, theatre and performance have played vital roles in
reflecting on the past, engaging the present, and imagining
possible futures. That Was Us features a wide, rich range of
critical essays and artist reflections that strive to make sense of
some of the most significant shifts and trends in contemporary
Irish theatre and performance. Focusing on artists connected to the
Dublin Theatre Festival, the book addresses work by the Abbey
Theatre, ANU Productions, Brokentalkers, The Corn Exchange, Druid,
Fabulous Beast Dance Theatre, the Gate Theatre, Landmark
Productions, Rough Magic Theatre Company, THEATREclub, Theatre
Lovett, Pan Pan, The Stomach Box and THISISPOPBABY, among others.
Some of the burgeoning forms and practices discussed include:
site-specific and site-responsive theatre; testimonial,
documentary, and biographical performance; dance theatre; theatre
for children and families; new writing; and fresh takes on
canonical writing staged at home or toured internationally. In
bringing together critics and artists to think side by side, That
Was Us is indispensable for anyone interested in contemporary
practices and cultural politics. Contents 1. The Power of the
Powerless: Theatre in Turbulent Times by Fintan Walsh ONE: Theatres
of Testimony 2. ANU Productions and Site-Specific Performance: The
Politics of Space and Place by Brian Singleton 3. Witnessing the
(Broken) Nation: Theatre of the Real and Social Fragmentation in
Brokentalkers' Silver Stars, The Blue Boy, and Have I No Mouth by
Charlotte McIvor 4. You Had to be There by Louise Lowe TWO:
Auto/Biographical Performance 5. Making Space: Female-Authored
Queer Performance in Irish Theatre by Oonagh Murphy 6. The Writing
Life by Helen Meany 7. Metaphysicians of Unnatural Chaos: Memories
of Genesi by Societas Raffaello Sanzio by Dylan Tighe THREE: Bodies
Out of Bounds 8. Insider and Outsider: Michael Keegan-Dolan in the
Irish Dance Landscape by Michael Seaver 9. And the Adults Came Too!
Dublin Theatre Festival and the Development of Irish Children's
Theatre by Eimear Beardmore 10. Living Inspiration by John Scott
FOUR: Placing Performance 11. Representations of Working-Class
Dublin at the Dublin Theatre Festival by James Hickson 12. 'Getting
Known': Beckett, Ireland, and the Creative Industries by Trish
McTighe 13. The Art of Perspective by Michael West FIVE: Touring
Performances 14. Druid Cycles: The Rewards of Marathon Productions
by Tanya Dean 15. Staging the National in an International Context:
Druid at the Dublin Theatre Festival by Sara Keating 16. Viewed
from Afar: Contemporary Irish Theatre on the World's Stages by
Peter Crawley 17. A Dance You Associate With Your Family by Gary
Keegan
Walsh argues that there are many links between theatre and
therapy when considering actor training, theatre in therapeutic
contexts, and contemporary theatre and performance. He draws on a
range of examples that include the drama of Sarah Kane, the method
acting of Daniel Day Lewis and performances by Ruby Wax and David
Hoyle.
This collection is a record of some of the most important
performative ideas and embodied interventions that have shaped
queer culture and theatre and performance practice in Ireland in
recent times, principally in the years following the
decriminalization of homosexuality in 1993, up to and including the
present. The anthology includes plays, experimental performance
documentation, and a visual essay that reveal the impassioned
creativity that illuminates and invigorates the margins of culture.
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