Pub Date : 2021-04-08DOI: 10.1093/oxfordhb/9780190863456.013.14
Illan rua Wall
Commentators often remark upon the “festive” or “tense” atmosphere of major protests. This seems to signify the general outlook of the protestors or the relations between them and the police. It signals the potential of the protests to unfold in a peaceful, joyous manner or with violence. While “festive” and “tense” are useful ways of thinking about protest atmospheres, they are often used in a highly reductive manner. The literature on atmosphere from social movement studies also tends to reproduce this reductive idea of atmosphere, whereby it can be understood through unidimensional metrics. This chapter discusses the social movement literature and opens the debate about atmospheres of protest more widely. Ultimately there is a much greater variety of atmospheric conditions in moments of protest. These nestle together, changing and interacting as the conditions shift. Atmospheres are the affective tone of space. They are produced by those gathered in that space, by the spatial dynamics and the affective social conditions. Atmospheres affect those present, changing their capacity to act. Thus it is important that we understand their potential.
{"title":"Atmospheres of Protest","authors":"Illan rua Wall","doi":"10.1093/oxfordhb/9780190863456.013.14","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190863456.013.14","url":null,"abstract":"Commentators often remark upon the “festive” or “tense” atmosphere of major protests. This seems to signify the general outlook of the protestors or the relations between them and the police. It signals the potential of the protests to unfold in a peaceful, joyous manner or with violence. While “festive” and “tense” are useful ways of thinking about protest atmospheres, they are often used in a highly reductive manner. The literature on atmosphere from social movement studies also tends to reproduce this reductive idea of atmosphere, whereby it can be understood through unidimensional metrics. This chapter discusses the social movement literature and opens the debate about atmospheres of protest more widely. Ultimately there is a much greater variety of atmospheric conditions in moments of protest. These nestle together, changing and interacting as the conditions shift. Atmospheres are the affective tone of space. They are produced by those gathered in that space, by the spatial dynamics and the affective social conditions. Atmospheres affect those present, changing their capacity to act. Thus it is important that we understand their potential.","PeriodicalId":107426,"journal":{"name":"The Oxford Handbook of Politics and Performance","volume":"SE-13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-04-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126578759","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-04-08DOI: 10.1093/oxfordhb/9780190863456.013.5
Jorge Cadena-Roa, Cristina Puga
Protests are contentious actions that pose claims to other parties. Protesters seek attention and voice or demand that a third party act (or stop acting) in a way that prompts grievances or causes suffering to the protesters or others. Protestors raise claims for a range of reasons, material, legal (such as rights and protections), and symbolic. Often all the claimants want is to call the authorities’ attention to certain issues because their efforts to be listened to through regular means have been ignored. Protests have been part and parcel of Mexican politics since postrevolutionary times. These protests routinely incorporate performative innovations into their repertoire in order to gain public support and have their demands met. This chapter analyzes the components of performance in protest and discusses a range of contrasting case studies from Mexico, highlighting features such as empathy and identity through performance.
{"title":"Protest and Performativity","authors":"Jorge Cadena-Roa, Cristina Puga","doi":"10.1093/oxfordhb/9780190863456.013.5","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190863456.013.5","url":null,"abstract":"Protests are contentious actions that pose claims to other parties. Protesters seek attention and voice or demand that a third party act (or stop acting) in a way that prompts grievances or causes suffering to the protesters or others. Protestors raise claims for a range of reasons, material, legal (such as rights and protections), and symbolic. Often all the claimants want is to call the authorities’ attention to certain issues because their efforts to be listened to through regular means have been ignored. Protests have been part and parcel of Mexican politics since postrevolutionary times. These protests routinely incorporate performative innovations into their repertoire in order to gain public support and have their demands met. This chapter analyzes the components of performance in protest and discusses a range of contrasting case studies from Mexico, highlighting features such as empathy and identity through performance.","PeriodicalId":107426,"journal":{"name":"The Oxford Handbook of Politics and Performance","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-04-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125010542","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-04-08DOI: 10.1093/OXFORDHB/9780190863456.013.50
S. Coleman
This chapter is stimulated by the author’s collaboration with the renowned choreographer Sharon Watson and dancers from the Northern School of Contemporary Dance to produce a contemporary dance work exploring the feelings of people who had voted for and against Brexit in the UK referendum of 2016. Suggesting that through attention to corporeal experience we might find ways of encapsulating prevalent political moods, it considers the ways in which political affect can exceed the capacities of typical scientific representation. Focusing on what it means to take a position, the chapter argues that dance has the potential to provide ways of attending to deep, prereflective, affective moods underlying and surrounding political situations. The chapter reflects upon the work of translation through which a choreographic devising process was informed by qualitative data. The idea of affective framing is outlined as a new way of thinking about such translatory work. Four arguments for further imaginative collaboration between artists and social scientists are offered, with a view to developing modes of political attention that capture the dynamics of politics as a felt experience.
{"title":"Taking a Position","authors":"S. Coleman","doi":"10.1093/OXFORDHB/9780190863456.013.50","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190863456.013.50","url":null,"abstract":"This chapter is stimulated by the author’s collaboration with the renowned choreographer Sharon Watson and dancers from the Northern School of Contemporary Dance to produce a contemporary dance work exploring the feelings of people who had voted for and against Brexit in the UK referendum of 2016. Suggesting that through attention to corporeal experience we might find ways of encapsulating prevalent political moods, it considers the ways in which political affect can exceed the capacities of typical scientific representation. Focusing on what it means to take a position, the chapter argues that dance has the potential to provide ways of attending to deep, prereflective, affective moods underlying and surrounding political situations. The chapter reflects upon the work of translation through which a choreographic devising process was informed by qualitative data. The idea of affective framing is outlined as a new way of thinking about such translatory work. Four arguments for further imaginative collaboration between artists and social scientists are offered, with a view to developing modes of political attention that capture the dynamics of politics as a felt experience.","PeriodicalId":107426,"journal":{"name":"The Oxford Handbook of Politics and Performance","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-04-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122033629","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-04-08DOI: 10.1093/OXFORDHB/9780190863456.013.42
S. Elden
This chapter begins the work of interrogating the concept and practice of ceremony historically and theoretically. There has been some important recent work that examines the question of ceremony and its contemporary political instantiations and that examines specific ceremonial practices in different historical periods. This chapter discusses this work, develops an argument about how to understand ceremony in relation to political theology, and shows how tracing the etymology and history of ceremony can be helpful in understanding it today. All ceremonies have at least the trace of a religious lineage, even if they appear to be for purely secular purposes. The chapter explores themes around bodies and materials—gesture, choreography, clothing, and objects; the texts or liturgy of ceremony; and the temporality and spatiality of ceremony. The ceremonial is an aspect of the performance of politics but also of the politics of performance. Through a brief discussion of Shakespeare’s play Henry V, the chapter explores this question of political theater.
{"title":"Ceremony, Genealogy, Political Theology","authors":"S. Elden","doi":"10.1093/OXFORDHB/9780190863456.013.42","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190863456.013.42","url":null,"abstract":"This chapter begins the work of interrogating the concept and practice of ceremony historically and theoretically. There has been some important recent work that examines the question of ceremony and its contemporary political instantiations and that examines specific ceremonial practices in different historical periods. This chapter discusses this work, develops an argument about how to understand ceremony in relation to political theology, and shows how tracing the etymology and history of ceremony can be helpful in understanding it today. All ceremonies have at least the trace of a religious lineage, even if they appear to be for purely secular purposes. The chapter explores themes around bodies and materials—gesture, choreography, clothing, and objects; the texts or liturgy of ceremony; and the temporality and spatiality of ceremony. The ceremonial is an aspect of the performance of politics but also of the politics of performance. Through a brief discussion of Shakespeare’s play Henry V, the chapter explores this question of political theater.","PeriodicalId":107426,"journal":{"name":"The Oxford Handbook of Politics and Performance","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-04-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130191613","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-04-08DOI: 10.1093/OXFORDHB/9780190863456.013.17
Vicky Angelaki
This chapter engages with the process of greening the theatrical canon by taking on the example of a significant play within the Ibsen oeuvre and within naturalism more broadly, Rosmersholm. As this chapter contends, productions such as those that Rosmersholm received at the Duke of York’s Theatre in London in 2019, adapted by the playwright Duncan Macmillan and directed by Ian Rickson, can serve well as paradigms for how the greening of the canon can work in practice, and how, similarly, we might recalibrate our critical reading to allow environmental concerns to emerge as primary while, at the same time, recognizing these as profoundly intertwined with issues relating to community, justice, politics, and social progress.
{"title":"Adaptation and Environment","authors":"Vicky Angelaki","doi":"10.1093/OXFORDHB/9780190863456.013.17","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780190863456.013.17","url":null,"abstract":"This chapter engages with the process of greening the theatrical canon by taking on the example of a significant play within the Ibsen oeuvre and within naturalism more broadly, Rosmersholm. As this chapter contends, productions such as those that Rosmersholm received at the Duke of York’s Theatre in London in 2019, adapted by the playwright Duncan Macmillan and directed by Ian Rickson, can serve well as paradigms for how the greening of the canon can work in practice, and how, similarly, we might recalibrate our critical reading to allow environmental concerns to emerge as primary while, at the same time, recognizing these as profoundly intertwined with issues relating to community, justice, politics, and social progress.","PeriodicalId":107426,"journal":{"name":"The Oxford Handbook of Politics and Performance","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-04-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124475450","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-27DOI: 10.1093/oxfordhb/9780190863456.013.46
Jordana Blejmar
This chapter addresses the links between memory, politics, and performance in the works of the so-called postmemory generations in Latin America, composed of those who were born or grew up during the dictatorships and internal conflicts that shattered the region during the second half of the twentieth century. It specifically discusses two plays: Villa+Discurso (Villa+Speech), written and directed by the Chilean dramaturge Guillermo Calderón, and Cuarto Intermedio: Guía práctica para juicios de lesa humanidad (Recess: A practical guide for trials of crimes against humanity), directed by the Argentine filmmaker Juan Schnitman and performed by the writer Félix Bruzzone, a son of disappeared parents, and Mónica Zwaig, a French lawyer and actress. Both Villa+Discurso and Cuarto intermedio touch upon Latin America’s bleakest crimes but without solemnity and with (dark) humor, and raise important and uncomfortable questions, such as who decides what to do with the material traces of the painful past, and what is our responsibility, our implication, to shared national traumas. Both plays claim that (post)memory is not merely a familial and private issue but is also a collective effort. Moreover (post)memory is presented here not so much as a representation, a recollection, or even a reenactment of the past, but as concrete actions and political interventions in the present. Thus the focus in this chapter is not only on the content of these plays (how postmemory is represented) but, more important, on the effects, and affects, that they produce on and beyond the stage.
本章探讨了所谓的拉丁美洲后记忆世代作品中记忆、政治和表演之间的联系，这些世代由那些在二十世纪下半叶独裁统治和内部冲突中出生或长大的人组成，这些独裁统治和内部冲突摧毁了该地区。它特别讨论了两部戏剧:《Villa+Discurso》(《Villa+Speech》)，由智利剧作家吉列尔莫(Guillermo) Calderón编剧和导演，以及《Cuarto Intermedio: Guía práctica para juicios de lesa humanidad》(《休息:审判危害人类罪的实用指南》)，由阿根廷电影制作人胡安·施尼特曼(Juan Schnitman)执导，由作家f里克斯·布鲁宗(f lix Bruzzone)和法国律师兼女演员Mónica兹韦格(Mónica zwaaig)出演，布鲁宗是一对失踪父母的儿子。Villa+Discurso和Cuarto intermedio都触及了拉丁美洲最凄凉的罪行，但没有庄重，而是(黑色)幽默，并提出了重要而令人不安的问题，比如谁决定如何处理痛苦过去的物质痕迹，我们的责任是什么，我们对共同的国家创伤的含义是什么。这两部剧都声称(后)记忆不仅仅是一个家庭和私人的问题，也是一个集体的努力。此外，(后)记忆在这里并不是作为对过去的再现、回忆，甚至是对过去的重演，而是作为当下的具体行动和政治干预。因此，本章的重点不仅是这些戏剧的内容(后记忆是如何表现的)，更重要的是，它们在舞台上和舞台外产生的效果和影响。
{"title":"Postmemory","authors":"Jordana Blejmar","doi":"10.1093/oxfordhb/9780190863456.013.46","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190863456.013.46","url":null,"abstract":"This chapter addresses the links between memory, politics, and performance in the works of the so-called postmemory generations in Latin America, composed of those who were born or grew up during the dictatorships and internal conflicts that shattered the region during the second half of the twentieth century. It specifically discusses two plays: Villa+Discurso (Villa+Speech), written and directed by the Chilean dramaturge Guillermo Calderón, and Cuarto Intermedio: Guía práctica para juicios de lesa humanidad (Recess: A practical guide for trials of crimes against humanity), directed by the Argentine filmmaker Juan Schnitman and performed by the writer Félix Bruzzone, a son of disappeared parents, and Mónica Zwaig, a French lawyer and actress. Both Villa+Discurso and Cuarto intermedio touch upon Latin America’s bleakest crimes but without solemnity and with (dark) humor, and raise important and uncomfortable questions, such as who decides what to do with the material traces of the painful past, and what is our responsibility, our implication, to shared national traumas. Both plays claim that (post)memory is not merely a familial and private issue but is also a collective effort. Moreover (post)memory is presented here not so much as a representation, a recollection, or even a reenactment of the past, but as concrete actions and political interventions in the present. Thus the focus in this chapter is not only on the content of these plays (how postmemory is represented) but, more important, on the effects, and affects, that they produce on and beyond the stage.","PeriodicalId":107426,"journal":{"name":"The Oxford Handbook of Politics and Performance","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133206419","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.1093/oxfordhb/9780190863456.013.43
B. Hadley
In the past three decades disabled scholars, artists, and their allies have highlighted the politics of representing the disabled body in theater, film, literature, museums, and the media. They have begun to address a problematic legacy of visibility-without-agency by advocating for positive self-representations of disabled people across a range of arts practices. Terms like disabled, handicapped, and crippled have been critiqued and in some cases reclaimed to articulate the distinctiveness of crip culture and performance. Terms like disability arts, arts and disability, artists with disability, and disability-led arts practice have been applied to politicized performance by disabled artists. This chapter argues that such terms have in effect become politicized performative gestures in their own right, which enact and guide the enactment of a disability rights agenda. It examines how artists’, archivists’, and historians’ efforts to relabel past work—to redact offensive labeling of disabled people as other from the historical record—is impacting our understanding of the evolution of this field of politicized practice. It also examines the impact changing ways of labeling art about, with, and by disabled people today is having. Labels certainly can be critical political gestures, designed to achieve critical maneuvers at critical moments in time, along the trajectory toward rights for disabled people. However, the idea that labels will serve in perpetuity, both in prospect and in retrospect, in wholly unproblematic ways, is less certain. In this sense, labels designed to support specific political shifts may always be “right for now” rather than “right forever.”
{"title":"What’s in a Name?","authors":"B. Hadley","doi":"10.1093/oxfordhb/9780190863456.013.43","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190863456.013.43","url":null,"abstract":"In the past three decades disabled scholars, artists, and their allies have highlighted the politics of representing the disabled body in theater, film, literature, museums, and the media. They have begun to address a problematic legacy of visibility-without-agency by advocating for positive self-representations of disabled people across a range of arts practices. Terms like disabled, handicapped, and crippled have been critiqued and in some cases reclaimed to articulate the distinctiveness of crip culture and performance. Terms like disability arts, arts and disability, artists with disability, and disability-led arts practice have been applied to politicized performance by disabled artists. This chapter argues that such terms have in effect become politicized performative gestures in their own right, which enact and guide the enactment of a disability rights agenda. It examines how artists’, archivists’, and historians’ efforts to relabel past work—to redact offensive labeling of disabled people as other from the historical record—is impacting our understanding of the evolution of this field of politicized practice. It also examines the impact changing ways of labeling art about, with, and by disabled people today is having. Labels certainly can be critical political gestures, designed to achieve critical maneuvers at critical moments in time, along the trajectory toward rights for disabled people. However, the idea that labels will serve in perpetuity, both in prospect and in retrospect, in wholly unproblematic ways, is less certain. In this sense, labels designed to support specific political shifts may always be “right for now” rather than “right forever.”","PeriodicalId":107426,"journal":{"name":"The Oxford Handbook of Politics and Performance","volume":"73 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131857473","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.1093/oxfordhb/9780190863456.013.36
Kimberly Wedeven Segall
This chapter looks at mass media as political performance in the sense that select ed bodies, images, and voices are part of a production with an intended audience. Alternative media offer different political performances in the sense that small-scale productions of marginalized communities use personal/ or communal voices to interrupt dominant structures. This chapter offers specific extended examples of the latter in particular, such as music videos and filmed performances. Distinguishing between mainstream press and its vernacular forms, this chapter suggests how alternative media performs a distinct psychological and political functions: enacting resiliencies, redefining citizenship, reviving racial solidarities. Contextualizing how mass media needs to be interpreted not for its neutrality but as a site of performance and politics offers a new lens on women’s protests.
{"title":"Media Sites","authors":"Kimberly Wedeven Segall","doi":"10.1093/oxfordhb/9780190863456.013.36","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190863456.013.36","url":null,"abstract":"This chapter looks at mass media as political performance in the sense that select ed bodies, images, and voices are part of a production with an intended audience. Alternative media offer different political performances in the sense that small-scale productions of marginalized communities use personal/ or communal voices to interrupt dominant structures. This chapter offers specific extended examples of the latter in particular, such as music videos and filmed performances. Distinguishing between mainstream press and its vernacular forms, this chapter suggests how alternative media performs a distinct psychological and political functions: enacting resiliencies, redefining citizenship, reviving racial solidarities. Contextualizing how mass media needs to be interpreted not for its neutrality but as a site of performance and politics offers a new lens on women’s protests.","PeriodicalId":107426,"journal":{"name":"The Oxford Handbook of Politics and Performance","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122139601","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.1093/oxfordhb/9780190863456.013.45
Willmar Sauter
This chapter presents various kinds of immersion, in which terms such as presence, participation, curiosity, and reflection are relevant aspects of public communication. It reconsiders some traditional schemes of communication and their applications in theater and performance studies as well as aesthetic theories that underline the position of the beholder. To make ideas of the spectator’s immersive involvement as concrete as possible, it refers to a contemporary trilogy of plays performed as Women in Science, in which various communicative strategies and techniques were employed. The attention is directed toward the watching B(eholder) as constitutive of theatrical communication, while the performing A(gent) can assume a wide variety of shapes. The beholder’s immersion has a close affinity to political activities.
{"title":"Immersion","authors":"Willmar Sauter","doi":"10.1093/oxfordhb/9780190863456.013.45","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190863456.013.45","url":null,"abstract":"This chapter presents various kinds of immersion, in which terms such as presence, participation, curiosity, and reflection are relevant aspects of public communication. It reconsiders some traditional schemes of communication and their applications in theater and performance studies as well as aesthetic theories that underline the position of the beholder. To make ideas of the spectator’s immersive involvement as concrete as possible, it refers to a contemporary trilogy of plays performed as Women in Science, in which various communicative strategies and techniques were employed. The attention is directed toward the watching B(eholder) as constitutive of theatrical communication, while the performing A(gent) can assume a wide variety of shapes. The beholder’s immersion has a close affinity to political activities.","PeriodicalId":107426,"journal":{"name":"The Oxford Handbook of Politics and Performance","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133871847","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.1093/oxfordhb/9780190863456.013.12
E. Cox
This chapter responds to the theme of borders with reference to the artistic and activist work of the Iranian refugee Behrouz Boochani, who was held for several years at Manus Island detention center, Papua New Guinea, at the behest of the Australian government. The discussion examines Boochani’s documentary film, Chauka, Please Tell Us the Time (2017), created clandestinely on a mobile device within the detention center. The chapter considers new border formations, marked by prolonged encounters with prohibitory migration laws that transform borders from instruments of passing into tools of impasse. Describing an emergent condition of the border, the chapter works through a concept of “thickening” that results from punitive laws concerning forced migration and from the artistic interventions of people subjected to these laws.
{"title":"Island Impasse","authors":"E. Cox","doi":"10.1093/oxfordhb/9780190863456.013.12","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190863456.013.12","url":null,"abstract":"This chapter responds to the theme of borders with reference to the artistic and activist work of the Iranian refugee Behrouz Boochani, who was held for several years at Manus Island detention center, Papua New Guinea, at the behest of the Australian government. The discussion examines Boochani’s documentary film, Chauka, Please Tell Us the Time (2017), created clandestinely on a mobile device within the detention center. The chapter considers new border formations, marked by prolonged encounters with prohibitory migration laws that transform borders from instruments of passing into tools of impasse. Describing an emergent condition of the border, the chapter works through a concept of “thickening” that results from punitive laws concerning forced migration and from the artistic interventions of people subjected to these laws.","PeriodicalId":107426,"journal":{"name":"The Oxford Handbook of Politics and Performance","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116951082","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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