By Thomas Fahy
The 1st assortment in this very important subject, Captive viewers examines the social, gendered, ethnic, and cultural difficulties of incarceration as explored in modern theatre. starting with an essay by way of Harold Pinter, the unique contributions talk about paintings together with Harold Pinter's screenplays for The Handmaid's story and The Trial, Theatrical felony tasks and Marat/Sade. Kimball King, Thomas Fahy, Rena Fraden, Tiffany Ana Lopez, Fiona generators, Harold Pinter, Ann C. corridor, Christopher C. Hudgins, Pamela Cooper, Robert F. Gross, Claudia Barnett, Lois Gordon
Read or Download Captive Audience: Prison and Captivity in Contemporary Theatre (Studies in Moderndrama, 19) PDF
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Additional resources for Captive Audience: Prison and Captivity in Contemporary Theatre (Studies in Moderndrama, 19)
As a family we find ourselves newly defined through active and constructive acts rather than through entirely defensive reactions. I am unable to perceive the world the same way after being so brutally transformed by the rehearsal hall of my family and the cruel theater of prison. Everything eventually comes together on this open stage, this once blank page. To circle back to the academic thread guiding this essay: I find Latina drama particularly instructive for thinking about the relationship between prison and performance.
A performance genre devoted to high drama and full body contact, roller derby enacts both the emotional and physical impact of the father’s violence, from his actual blows to emotional neglect. In the conjoining monologue Pocho Nightmare—A Moo-Moo Approaches, Alfaro further explores the negative ways the father understands the feminine and how his targets—in this second case, the mother—respond by internalizing abuse to the point of engaging in acts of self-inflicted violence. Alfaro explicitly empathizes with his mother, using his own large and feminized body to illustrate her plight.
But with other Chicanos and Chicanas, I remain (for better or worse) engaged. I care. And it is that caring that causes me to feel the rechazo, as from a brother to a sister. For better or worse, I am your hermana. I say this as your peer, as your ‘sister in struggle,’ where ironically those words (cliche as they may sound) still mean something to me. ” Moraga’s letter sparked an impromptu session led by me devoted to her work and the broader context of her letter within the history of Chicano teatro.