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Performing the Queer Past: Public Possessions [Hardback]

5.00/5 (2 ratings by Goodreads)
(Birkbeck, University of London, UK), Series edited by (Rollins College, USA), Series edited by (University of Innsbruck, Austria)
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Performing the Queer Past: Public PossessionsPalielināt
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Permanent link: https://www.kriso.lv/db/9781350297968.html
Keywords:
"How do contemporary theatre and performance appear to be possessed by the queer past? This book explores how the queer past is invoked via strategies of channeling and haunting, working through and working out, recollection and replay, commodification and reproduction, occupation and commemoration, intermedial recontextualization and dissemination. It focuses on an eclectic range of case studies including Artangel, Dickie Beau, Jeremy O. Harris, Karen Finley, Milo Rau, Rachel Mars, Split Britches and Travis Alabanza, and practices that encompass digital theatre, experimental performance, installation, live art and site-specific interventions"--

'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.

Recenzijas

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. In moving with, and through, the rip currents of death, love and queer inheritances, Walsh asks us to reimagine how and why we endure all that was and is yet to come. 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 Walshs 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 * Lucid and engaging Performing the Queer Past will reward anyone interested in theatre history, performance studies, LGBTQ+ art, or contemporary culture with Walshs sensitive, compelling readings. * Theatre Survey *

Papildus informācija

By examining the ways in which contemporary theatre and performance appear to be possessed by the queer past, this book explores how encountering its histories of loss, hurt and grief may help navigate the present.

List of Figures
Acknowledgments

Introduction: Performing Queer Possession
1. Channelling Ghosts: the Haunted Present
2. Muscle Memories: Exe(o)rcising History
3. Re-enacting Violence: Sharing Responsibility
4. Arresting Objects: Transforming Matters
5. Wilde Spirits: Occupation and Commemoration
6. Grief's Ricochet: Intermedial Returns
7. Epilogue: Shorelines of the Dispossessed

Notes
References
Index

Fintan Walsh is Professor of Performing Arts and Humanities and Director of Birkbeck Centre for Contemporary Theatre at Birkbeck, University of London, UK. His recent books include the collection Theatres of Contagion: Transmitting Early Modern to Contemporary Performance (Methuen Drama 2020) and the monograph Queer Performance and Contemporary Ireland (2016). Fintan is a former editor of the Theatre Research International, and editor of the book series Contemporary Performance Texts.