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Titlebook: ANU Productions; The Monto Cycle Brian Singleton Book 2016 The Editor(s) (if applicable) and The Author(s) 2016 Irish theatre.contemporary

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发表于 2025-3-21 18:45:24 | 显示全部楼层 |阅读模式
期刊全称ANU Productions
期刊简称The Monto Cycle
影响因子2023Brian Singleton
视频video
发行地址Provides a timely analysis of the best-known works of Ireland‘s most discussed contemporary theatre company.Contributes to wider debates about site-specific and immersive performance.Uses first-hand e
图书封面Titlebook: ANU Productions; The Monto Cycle Brian Singleton Book 2016 The Editor(s) (if applicable) and The Author(s) 2016 Irish theatre.contemporary
影响因子This book sets out strategies of analysis of the award-winning tetralogy of performances (2010-14) by ANU Productions known as ‘The Monto Cycle’. Set within a quarter square mile of Dublin’s north inner city, colloquially known as The Monto, these performances featured social concerns that have blighted the area over the past 100 years, including prostitution, trafficking, asylum-seeking, heroin addiction, and the scandal of the Magdalene laundries. While placing the four productions in their social, historical, cultural and economic contexts, the book examines these performances that operated at the intersection of performance, installation, visual art, choreography, site-responsive and community arts. In doing so, it explores their concerns with time, place, history, memory, the city, ‘affect’, and the self as agent of action..
Pindex Book 2016
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https://doi.org/10.1007/978-3-0348-7848-7ften individual actor, confronting spectators with ethical choices and directly inviting them to remember. The artistic ‘lieux de mémoire’ (after Pierre Nora) of . challenged the organization of the past as propounded by the history of the nation, and sought to reinscribe the narrative of the future
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Peter Moldéus,Roger Larsson,David Rosssion in a heroin epidemic that wreaked havoc on a whole generation of local residents. In addition, the production gestured to the 1974 loyalist car bomb that brought death and destruction in Talbot Street on the Monto’s southern perimeter. The performance captured the chaos of street life before le
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Prostaglandins, Leukotrienes, and Cancer of a globalized inner city. While spectators encountered local residents who looked to the future with no regrets for the past, and sought solace in a fortune teller’s business of hope for the future, the migrants we later encountered were reminiscent of Michel de Certeau’s ‘invisible practitioners
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The Editor(s) (if applicable) and The Author(s) 2016
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