Titlebook: Disability, Public Space Performance and Spectatorship; Unconscious Performe Bree Hadley Book 2014 Palgrave Macmillan, a division of Macmil

Pedagogy

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Amenable

歌曲

Disability, Public Space Performance and SpectatorshipUnconscious Performe

adjacent

Disability, Public Space Performance and Spectatorship978-1-137-39608-2

Panther

Weebles, Mirages and Living Mirrors: The Ethics of Embarrassed Laughter,stares or scrutiny. The moments, they argue, where they feel most compelled by social spectators to perform the role of the monster, medical specimen, cripple, charity case, malingerer, inspiration or whatever other personae prevail in the given context at the given time.

流浪

Drug Deals, Samaritans and Suicides: Bodies on the Brink of the Visible,e is — at least for Back to Back Theatre, Bill Shannon, Katherine Araniello and Aaron Williamson, the artists I consider in this chapter — a clear inducement to interrupt the daily social drama of disability by commandeering the very spaces and places in which it plays out. In their practice, it is

prick-test

,‘That you would post such a thing…’: Staging Spectatorship Online,cs of the practices considered in this book — positioned, as they are, outside the mainstream performance practices that garner this sort of media attention — makes it even more difficult to gather the documentation, discussion or analysis that might indicate the potential of the practices to have a

欺騙手段

Same Difference?: Disability, Presence, Performance and Ethics,son, Crow and the other artists considered here create very different types of performances, they do seem to deploy some distinctive performance strategies. They play out a more or less exaggerated, abstracted or absurd image of the role society assigns them in public spaces or places. In doing so,

Abnormal

Conclusion: (Dia)Logics of Difference, erected around them: tragic, poor, helpless, heroic, struggling, etc. In the laboratory of the performance situation, these knowledges can be re-examined, and questioned again and again’ (2004: 3). This is precisely what these artists do, in the laboratory of a specific sort of performance in publi