As The Beast Sleeps
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As the Beast Sleeps
Once again Gary Mitchell has turned the terrible tensions in Northern Ireland into thrilling, if doom-laden drama.
The Gender Politics of Contemporary Performance in Northern Ireland
This book examines theatre and performance produced since the 1998 Belfast/Good Friday Agreement in the context of growing discontent with the failure of the peace in Northern Ireland to deliver genuinely transformative forms of social justice. The economic expansion that attended the peace accord propelled the growth of the region’s theatre and performance sector and assisted in increasing the representation of women and LGBTQ+ people across the arts. Despite this, much of the performance work produced since 1998 has illuminated the darker social consequences of Northern Ireland’s embrace of a specifically neoliberal vision of a ‘post-conflict’ society. Existing scholarship has already highlighted the role of theatre and performance in drawing attention to the misogyny and homophobia that has underwritten political antagonism in the North since partition. Instead, this book offers a sustained examination of contemporary performance makers that have engaged specifically with the reconstruction of gender norms amidst the region’s political and economic transformation. The story it tells is of an emerging current in theatre, performance art, and dance consisting of work concerned not only with uncovering the morbid symptoms of the neoliberal peace but also embodying those messy and everyday conditions of co-dependency, vulnerability and solidarity that both patriarchal nationalisms and androcentric individualism seek to deny.
Political Performances
Political Performances: Theory and Practice emerges from the work of the Political Performances Working Group of the International Federation for Theatre Research/Fédération Internationale pour la Recherche de Théâtrale. The collection of essays strives to interrogate definitions and expand boundaries of political performance. Members of Political Performances are from around the world and so approach the intersection of politics and performance from very different perspectives. Some focus on socio-political context, others on dramatic content, others on political issues and activism, and still others examine the ways in which communities perform their collective identity and political agency. The organizational structure of Political Performances highlights the variety of ways in which politics and performance converge. Each section - "Queries", "Texts", "Contexts" and "Practice" - frames this confluence according to certain common threads that emerge from essays that deal with topics from the ethics of autobiographical performance, the political efficacy of verbatim theatre, the challenges of community-based performance, political and self-censorship, and the impossibility of representing atrocity. The essays challenge existing ideas of political performance and point the way to new approaches.