Pub Date : 1900-01-01DOI: 10.1093/oxfordhb/9780190863456.013.47
Nobuko Anan
This chapter examines mother-child love linked to love for the nation within two Japanese plays. In Rio Kishida’s Thread Hell (1984), a pre–World War II silk factory represents the Japanese Empire, where a mother and her daughter are manipulated by the nation. However, they eventually challenge this symbolic realm that forces women to sustain the national lineage through their reproductive function. In Hideki Noda’s MIWA (2015), a homosexual transvestite’s relationship with his mother in the postwar period is depicted. As resistance to heteronormative ideas about family, and the nation as its extension, he commits matricide, but this leads to his melancholia as he cannot fully give up his desire to belong to a “normal” family and nation. These plays explore the ways individuals develop a critical relation to the nation by reconfiguring their love for their mother.
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Pub Date : 1900-01-01DOI: 10.1093/oxfordhb/9780190863456.013.25
E. Crewe, Nicholas Sarra
The representation of a constituency is at the heart of most democracies. In many countries an elected representative acts as a bridge between a parliament and a locality, while members of the parliament as a collective mediate between the center and the whole of that nation. This chapter explains why a methodological approach that relies on collaborative ethnography and multidisciplinary theorizing is a powerful way to probe the performances, identities, and emotions underlying the work of elected politicians. Taking a relational and performative approach, the chapter considers how these relationships in politics are not merely about interests, roles, or viewpoints; politicians have the power of evocation and so are important to people’s imagination and feeling of belonging. Politicians who ignore the sacred—the ritual, symbolism, and drama of politics—and merely try to impress voters with their ideological standpoints, will find it harder to secure support.
{"title":"Constituency Performances","authors":"E. Crewe, Nicholas Sarra","doi":"10.1093/oxfordhb/9780190863456.013.25","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190863456.013.25","url":null,"abstract":"The representation of a constituency is at the heart of most democracies. In many countries an elected representative acts as a bridge between a parliament and a locality, while members of the parliament as a collective mediate between the center and the whole of that nation. This chapter explains why a methodological approach that relies on collaborative ethnography and multidisciplinary theorizing is a powerful way to probe the performances, identities, and emotions underlying the work of elected politicians. Taking a relational and performative approach, the chapter considers how these relationships in politics are not merely about interests, roles, or viewpoints; politicians have the power of evocation and so are important to people’s imagination and feeling of belonging. Politicians who ignore the sacred—the ritual, symbolism, and drama of politics—and merely try to impress voters with their ideological standpoints, will find it harder to secure support.","PeriodicalId":107426,"journal":{"name":"The Oxford Handbook of Politics and Performance","volume":"56 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":"132101226","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/9780190863456.013.39
Charlotte Heath-Kelly
This chapter explores the staging of memory in public architecture, emphasizing the spatial and temporal dynamics of commemorative performance. While we are familiar with post-terrorist space being redesigned to perform resilient nationalism, other affected terrain is “off-staged” by recovery planners into the realm of economic regeneration. The chapter reflects upon the spatial staging of 9/11 recovery in Manhattan which splits urban terrain into symbolic and economic zones, ‘off-staging’ the city’s prioritization of business interests during disaster management. Beyond these spatial divisions in the staging of terrorism memory, memorials also conceive of audiences in radically distinct temporal zones. Design teams are presented with briefs that identify their audiences in the contemporary moment but also 100, 150, and even 250 years into the future. The memorial is expected to perform the disaster event, to educate an audience of whom we have no knowledge. The chapter deconstructs this temporal leap, showing that memorializing for the future does not only serve an educational purpose but performatively mitigates anxieties about the erasure of the present from the world stage. By addressing a future audience, the terrorism memorial performatively stages a concern for us from future beings. The chapter analyzes this ritualized address to the future as transferring from burial necrogeography. The terrorism memorial– and its particular staging practices – respond to anxieties about the erasure of traditional foundations for political authority during globalization, which has led to an increased reliance on performative architectural objects.
{"title":"Staging Memorialization","authors":"Charlotte Heath-Kelly","doi":"10.1093/oxfordhb/9780190863456.013.39","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190863456.013.39","url":null,"abstract":"This chapter explores the staging of memory in public architecture, emphasizing the spatial and temporal dynamics of commemorative performance. While we are familiar with post-terrorist space being redesigned to perform resilient nationalism, other affected terrain is “off-staged” by recovery planners into the realm of economic regeneration. The chapter reflects upon the spatial staging of 9/11 recovery in Manhattan which splits urban terrain into symbolic and economic zones, ‘off-staging’ the city’s prioritization of business interests during disaster management. Beyond these spatial divisions in the staging of terrorism memory, memorials also conceive of audiences in radically distinct temporal zones. Design teams are presented with briefs that identify their audiences in the contemporary moment but also 100, 150, and even 250 years into the future. The memorial is expected to perform the disaster event, to educate an audience of whom we have no knowledge. The chapter deconstructs this temporal leap, showing that memorializing for the future does not only serve an educational purpose but performatively mitigates anxieties about the erasure of the present from the world stage. By addressing a future audience, the terrorism memorial performatively stages a concern for us from future beings. The chapter analyzes this ritualized address to the future as transferring from burial necrogeography. The terrorism memorial– and its particular staging practices – respond to anxieties about the erasure of traditional foundations for political authority during globalization, which has led to an increased reliance on performative architectural objects.","PeriodicalId":107426,"journal":{"name":"The Oxford Handbook of Politics and Performance","volume":"80 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":"133664957","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/9780190863456.013.53
Julia C. Strauss
Although it is widely recognized that performance permeates politics, there is surprisingly little agreement on how politics in performance plays out across different political and cultural environments. Focusing on the script as both written text and mutually constituted social role that attempts to reinforce legitimacy, this chapter develops two typologies. The first considers the script itself as either optimistic or pessimistic and that appeals to either reason or the emotions; the second how the script is imbricated with its prospective target audience(s) and the degree to which it attempts to divide or unite and either is closed or permits room for improvisation. It develops these typologies by comparing and contrasting the political performances of Xi Jinping and his optimistic and unifying “China Dream” in the increasingly authoritarian People’s Republic of China with the divisive, antitechnocratic jeremiad performances of Donald Trump and Boris Johnson in the United States and the United Kingdom. It concludes that in other political contexts the substance of political performance scripts, the ways in which scripts engage audiences, and how they are modified over time are likely to vary, but to do so in patterned ways.
{"title":"Scripts, Authority, and Legitimacy","authors":"Julia C. Strauss","doi":"10.1093/oxfordhb/9780190863456.013.53","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190863456.013.53","url":null,"abstract":"Although it is widely recognized that performance permeates politics, there is surprisingly little agreement on how politics in performance plays out across different political and cultural environments. Focusing on the script as both written text and mutually constituted social role that attempts to reinforce legitimacy, this chapter develops two typologies. The first considers the script itself as either optimistic or pessimistic and that appeals to either reason or the emotions; the second how the script is imbricated with its prospective target audience(s) and the degree to which it attempts to divide or unite and either is closed or permits room for improvisation. It develops these typologies by comparing and contrasting the political performances of Xi Jinping and his optimistic and unifying “China Dream” in the increasingly authoritarian People’s Republic of China with the divisive, antitechnocratic jeremiad performances of Donald Trump and Boris Johnson in the United States and the United Kingdom. It concludes that in other political contexts the substance of political performance scripts, the ways in which scripts engage audiences, and how they are modified over time are likely to vary, but to do so in patterned ways.","PeriodicalId":107426,"journal":{"name":"The Oxford Handbook of Politics and Performance","volume":"17 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":"125170256","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/9780190863456.013.44
M. Franklin
A number of women who made their name as punk musicians and experimental performers have published their memoirs in quick succession. Taken together these books offer a rescripting of the dominant narrative of punk and related independent—indie—music scenes. The memoirs considered here—by Viv Albertine, Carrie Brownstein, Kim Gordon, Chrissie Hynde, Patti Smith, Brix Smith Start, and Cosey Fanni Tutti—go some way in challenging androcentric stereotypes in the “story of punk,” its politics and furious male icons. These memoirs provide rich insights into the complex, underground sexual politics of making it in a male-dominated industry. In so doing they rewrite the official record of punk registers of musical and political protest as groundbreaking experimental artists who also excel at playing fast, loudly, and with the libidinous energy usually attributed to masculine performance.
{"title":"Music","authors":"M. Franklin","doi":"10.1093/oxfordhb/9780190863456.013.44","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190863456.013.44","url":null,"abstract":"A number of women who made their name as punk musicians and experimental performers have published their memoirs in quick succession. Taken together these books offer a rescripting of the dominant narrative of punk and related independent—indie—music scenes. The memoirs considered here—by Viv Albertine, Carrie Brownstein, Kim Gordon, Chrissie Hynde, Patti Smith, Brix Smith Start, and Cosey Fanni Tutti—go some way in challenging androcentric stereotypes in the “story of punk,” its politics and furious male icons. These memoirs provide rich insights into the complex, underground sexual politics of making it in a male-dominated industry. In so doing they rewrite the official record of punk registers of musical and political protest as groundbreaking experimental artists who also excel at playing fast, loudly, and with the libidinous energy usually attributed to masculine performance.","PeriodicalId":107426,"journal":{"name":"The Oxford Handbook of Politics and Performance","volume":"5 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":"117003858","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/9780190863456.013.19
John Uhr
This chapter draws on the fields of politics and performance to analyze the nature of leadership performance in contemporary political societies. It recovers neglected themes about leadership performance originally articulated by two political thinkers deeply interested in the role of public performance by political leaders, Jean-Jacques Rousseau and Walter Bagehot, both of whom can help strengthen contemporary appraisals of leadership performance. The two thinkers evaluate leadership performance quite differently, using different performance standards. The eighteenth-century philosopher Rousseau devised a moral critique of modern liberalism, including a detailed evaluation of underdeveloped modes of leadership performance typical of modern liberal political regimes. Rousseau’s alternative leadership morality sketched in The Social Contract remains a powerful source for contemporary analysis of the limits of liberalism and of the options for more egalitarian, republican alternatives.
{"title":"Political Leadership","authors":"John Uhr","doi":"10.1093/oxfordhb/9780190863456.013.19","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190863456.013.19","url":null,"abstract":"This chapter draws on the fields of politics and performance to analyze the nature of leadership performance in contemporary political societies. It recovers neglected themes about leadership performance originally articulated by two political thinkers deeply interested in the role of public performance by political leaders, Jean-Jacques Rousseau and Walter Bagehot, both of whom can help strengthen contemporary appraisals of leadership performance. The two thinkers evaluate leadership performance quite differently, using different performance standards. The eighteenth-century philosopher Rousseau devised a moral critique of modern liberalism, including a detailed evaluation of underdeveloped modes of leadership performance typical of modern liberal political regimes. Rousseau’s alternative leadership morality sketched in The Social Contract remains a powerful source for contemporary analysis of the limits of liberalism and of the options for more egalitarian, republican alternatives.","PeriodicalId":107426,"journal":{"name":"The Oxford Handbook of Politics and Performance","volume":"1 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":"129280983","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/9780190863456.013.31
Lisa Skwirblies
This chapter argues that references to the theater are never merely innocent metaphors but instead are historically and culturally determined modes of perception that allow us to see certain problems in the political realm such as authenticity, representation, and spectatorship as essentially theatrical problems. This is particularly the case in nineteenth century colonial discourse with its technique of theatricalizing the colonized people and places. As a “travelling concept,” theatricality is not bound exclusively to the realm of the theater nor to the discourses of theater and performance studies; it holds meaning and potential as an instrument for analysis in the field of political science as well. The cross-disciplinary possibilities of the term theatricality lie in the term’s applicability for a better understanding of both the theater-like character of the political and social domain as well as of the grammar of performance as an aesthetic medium.
{"title":"Colonial Theatricality","authors":"Lisa Skwirblies","doi":"10.1093/oxfordhb/9780190863456.013.31","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190863456.013.31","url":null,"abstract":"This chapter argues that references to the theater are never merely innocent metaphors but instead are historically and culturally determined modes of perception that allow us to see certain problems in the political realm such as authenticity, representation, and spectatorship as essentially theatrical problems. This is particularly the case in nineteenth century colonial discourse with its technique of theatricalizing the colonized people and places. As a “travelling concept,” theatricality is not bound exclusively to the realm of the theater nor to the discourses of theater and performance studies; it holds meaning and potential as an instrument for analysis in the field of political science as well. The cross-disciplinary possibilities of the term theatricality lie in the term’s applicability for a better understanding of both the theater-like character of the political and social domain as well as of the grammar of performance as an aesthetic medium.","PeriodicalId":107426,"journal":{"name":"The Oxford Handbook of Politics and Performance","volume":"183 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":"124894723","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/9780190863456.013.35
Edgaras Klivis
This chapter aims at presenting the complex correlations between nationalism and modern theater with a special focus on performative construction of national identity. Whether seen as primordial essence or as a social construction national identity is grounded on public rituals and artistic practices (rather than rational ideological systems) which makes theatrical stage, along with print, museums, other media, central to understanding how imagined communities come into being and continue their existence into the global contemporary society. The chapter addresses the question of how the theatrical apparatus of bourgeois theater and staged representations in national theaters function in forming theatrical nationhood as well as concepts (postcolonialism), strategies (theatrical public sphere), artists (Jean Genet), and practices (interweaving performance cultures) that contest the dominant modes of performing national identity.
{"title":"National Identity","authors":"Edgaras Klivis","doi":"10.1093/oxfordhb/9780190863456.013.35","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190863456.013.35","url":null,"abstract":"This chapter aims at presenting the complex correlations between nationalism and modern theater with a special focus on performative construction of national identity. Whether seen as primordial essence or as a social construction national identity is grounded on public rituals and artistic practices (rather than rational ideological systems) which makes theatrical stage, along with print, museums, other media, central to understanding how imagined communities come into being and continue their existence into the global contemporary society. The chapter addresses the question of how the theatrical apparatus of bourgeois theater and staged representations in national theaters function in forming theatrical nationhood as well as concepts (postcolonialism), strategies (theatrical public sphere), artists (Jean Genet), and practices (interweaving performance cultures) that contest the dominant modes of performing national identity.","PeriodicalId":107426,"journal":{"name":"The Oxford Handbook of Politics and Performance","volume":"34 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":"122402897","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/9780190863456.013.15
C. Charrett
Frontiers on land and bodies are performative of imperial expansion and acceleration. This chapter argues that frontier sites are especially productive of imperial formations, as they expose inconsistencies and excesses that are met with a particular rage and discipline. As such, frontier sites are productive of iterations of imperial violence, which includes the construction of new infrastructures and technologies of violence, as well as the discursive justification for this violent apparatus. Palestine is a frontier of imperial formations that is productive of war technologies, but also a site where debates over the legitimization of the use of this violence takes place. Performances on the frontiers of empire such as Palestine are constitutive of subject and subjectivities on resistance and settler colonialism in global politics. The marking of Hamas as terrorists is central to the coding and interpretations of Palestine in public discourses. The democratic election of Hamas troubled the coding of the movement as an illegitimate terrorist Other, which was met with a performative anxiety and rage by the European Union. The EU had headed the election-monitoring mission in the Occupied Palestinian Territories, and they had declared the elections transparent, free. and fair. Their response, however, was to diplomatically and financially sanction Hamas, which had profound consequences for Palestinian governance. Hamas and Gaza exposed fault lines in empire’s attempt to defend its use of violence. and as such they are also productive of new forms of enacting imperial violence. The chapter explores the performances of Tania El Khoury, whose work uses intimate scenes and audience interactivity to foreground the pain and oppression of imperial violence. Performance acts as a cultural frontier that negotiates and expresses subversive and resistant meanings of violence in global politics.
{"title":"Empire","authors":"C. Charrett","doi":"10.1093/oxfordhb/9780190863456.013.15","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190863456.013.15","url":null,"abstract":"Frontiers on land and bodies are performative of imperial expansion and acceleration. This chapter argues that frontier sites are especially productive of imperial formations, as they expose inconsistencies and excesses that are met with a particular rage and discipline. As such, frontier sites are productive of iterations of imperial violence, which includes the construction of new infrastructures and technologies of violence, as well as the discursive justification for this violent apparatus. Palestine is a frontier of imperial formations that is productive of war technologies, but also a site where debates over the legitimization of the use of this violence takes place. Performances on the frontiers of empire such as Palestine are constitutive of subject and subjectivities on resistance and settler colonialism in global politics. The marking of Hamas as terrorists is central to the coding and interpretations of Palestine in public discourses. The democratic election of Hamas troubled the coding of the movement as an illegitimate terrorist Other, which was met with a performative anxiety and rage by the European Union. The EU had headed the election-monitoring mission in the Occupied Palestinian Territories, and they had declared the elections transparent, free. and fair. Their response, however, was to diplomatically and financially sanction Hamas, which had profound consequences for Palestinian governance. Hamas and Gaza exposed fault lines in empire’s attempt to defend its use of violence. and as such they are also productive of new forms of enacting imperial violence. The chapter explores the performances of Tania El Khoury, whose work uses intimate scenes and audience interactivity to foreground the pain and oppression of imperial violence. Performance acts as a cultural frontier that negotiates and expresses subversive and resistant meanings of violence in global politics.","PeriodicalId":107426,"journal":{"name":"The Oxford Handbook of Politics and Performance","volume":"59 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":"126780801","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/9780190863456.013.28
Narelle Warren
Care is a concept characterized by its multiplicity of meanings, uses, and practices. It is deeply shaped by the affective contexts in which care take place. Political and social processes determine who can and does care—the work of care—and the recognition of this work. While grounded in individual relationships, care is performative insofar as it is made and remade through its provision and practice, which tells much about the power structures that surround its practice. This chapter examines these affective and performative dimensions of care through vignettes with Australian informal (unpaid) spousal caregivers. Care, as described by the participants, operates in two distinct ways. First, as they explicitly describe, their acts of care reflect what matters to them, their affective ties to another—their spouse who lives with Parkinson’s disease. All discussed care as a mutual endeavor characterized by reciprocity and meaning, resonating with Puig de la Bellacasa’s constitutive elements of care as commitment, doing, and obligation. Second, participants described their care practices as reflecting a deeply unequal gendered order in which the allocation of limited economic, social, and political resources were laid bare: who does and does not get paid in the delivery of care reinforces social and household inequalities. Attending to performativity allows a consideration of how such competing priorities are negotiated in everyday encounters of care.
关心是一个概念，其特点是其含义、用途和实践的多样性。它深受护理发生的情感环境的影响。政治和社会进程决定了谁能够和做关怀——关怀的工作——以及对这项工作的认可。虽然护理是建立在个人关系的基础上的，但就其通过提供和实践而产生和重塑而言，它是表现性的，这在很大程度上说明了围绕其实践的权力结构。本章通过澳大利亚非正式(无薪)配偶照顾者的小插曲检查了这些情感和行为方面的照顾。正如参与者所描述的那样，护理以两种不同的方式运作。首先，正如他们明确描述的那样，他们的关怀行为反映了对他们来说重要的事情，他们与另一个人的情感联系——他们患有帕金森病的配偶。所有人都认为护理是一种相互的努力，其特点是互惠和意义，与Puig de la Bellacasa关于护理的构成要素如承诺、行动和义务产生共鸣。其次，参与者将他们的护理实践描述为反映了一种严重不平等的性别秩序，在这种秩序中，有限的经济、社会和政治资源的分配暴露无遗:谁在提供护理中得到报酬，谁没有得到报酬，加剧了社会和家庭的不平等。参加表演允许考虑如何在日常护理中协商这些竞争的优先事项。
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