The Figure of the Monster in Global Theatre

Bringing together international perspectives on the figure of the "monster" in performance, this edited collection builds on discussions in the fields of posthumanism, bioethics and performance studies.

Autorentext

Michael M. Chemers is Professor and Chair of the Department of Performance, Play & Design at the University of California Santa Cruz, USA. He is the author of more than 70 peer-reviewed pieces (including seven books) on theatre history, theory, adaptation, and dramaturgy. Most relevant to this project, he is the author of Staging Stigma: A Critical Examination of the American Freak Show (Palgrave MacMillan, 2008) and The Monster in Theatre History: This Thing of Darkness (Routledge, 2017), served as editor for a double issue of Disability Studies Quarterly on freak shows, and edited Alexander Iliev's Towards a Theory of Mime (Routledge, 2014) and Luis Valdez's Theatre of the Sphere: The Vibrant Being (Routledge, 2021).

Analola Santana is Associate Professor in the Department of Theater at Dartmouth College, USA. She is the author of Teatro y Cultura de Masas: Encuentros y Debates (2010) and Freak Performances: Dissidence in Latin American Theatre (2018), the latter of which considers the significance of theatrical practices that use the "freak" as a medium to explore the continuing effects of colonialism on Latin American identity. She is also the co-editor of Theatre and Cartographies of Power: Repositioning the Latina/o Americas (2018) and Fifty Key Figures in Latinx and Latin American Theatre (Routledge, 2022). She works as a professional dramaturg and is a company member of Mexico's famed Teatro de Ciertos Habitantes.

Klappentext

Bringing together international perspectives on the figure of the "monster" in performance, this edited collection builds on discussions in the fields of posthumanism, bioethics and performance studies.

Zusammenfassung
Bringing together international perspectives on the figure of the monster in performance, this edited collection builds on discussions in the fields of posthumanism, bioethics and performance studies.

Inhalt

List of Contributors

Introduction: A Global Epistemology of the Monster in Performance

Chapter 1. Gender and Performing a Spider Spirit in Jingju (Beijing Opera) Pansidong (Cave of the Silken Web)

Chapter 2. Yakshi - A Bizarre Double from South Asia

Chapter 3. The Resignification of La Llorona in Mexican and Chicano Culture

Chapter 4. Spectral Monster/Haunting Presence: Decolonial Re-imaginings of Sycorax

Chapter 5. Cuentos de la Tumbona: A Teatro-cabaret Tale of Trans Monstrosity and Resistance

Chapter 6. When is the Time of No More Deaths? Forced Migration, Untimely Ghosts, and the Sounds of Haunting Performance

Chapter 7. Blood, Sweat, and Fears: The Values of Work and Community in the Haunting Profession

Chapter 8. The Ghost at the Top of the Stairs: Apparitions of Trauma and White Supremacy in Branden Jacobs-Jenkins' Appropriate

Chapter 9. More than Monsters: Black Horror and the Whole Humanity of Her (1925) and Nope (2022)

Chapter 10. A Tale of Golem Democracy

Chapter 11. 'Something Coming to Eat the Whole World': The monstrous nostalgia of Little Shop of Horrors

Chapter 12. The Ghosts of War: Trauma and the Supernatural

Chapter 13. 'In the puppet or in the god': Annie Baker's John, Numinous Dread,

and Unknowable Others

Chapter 14. Snap Chat Filters, Dissonant Cockatoos, and Total Blackouts: Conjuring Monsters in Australian Gothic Theatre

Chapter 15. The Wicked Witch of the Web: Technology and Monstrosity in The Builders Association's Elements of Oz

Index ****