By Scott T. Cummings, Erica Stevens Abbitt, E. Stevens Abbitt
Naomi Wallace, an American playwright established in Britain, is among the extra unique and provocative voices in modern theatre. Her poetic, erotically-charged, and politically engaged performs were obvious in London's West finish, off-Broadway, on the Comédie-Française, in local and provincial theaters, and on university campuses worldwide. recognized for his or her intimate, sensual encounters studying the connection among id and gear, Wallace's works have attracted quite a lot of theatre practitioners, together with such vital administrators as Dominic Dromgoole, Ron Daniels, Jo Bonney, and Kwame Kwei-Armah. Drawing on students, activists, historians, and theatre artists within the usa, Canada, Britain, and the center East, this anthology of essays provides a complete assessment of Wallace's physique of labor that would be of use to theatre practitioners, scholars, students, and educators alike.
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Extra resources for The Theatre of Naomi Wallace: Embodied Dialogues
This co-creation of the utopian performative is a distinctly social, public process that models democracy as a “participatory forum” as much as it models what a more just, equitable world “might feel like” (456, my emphasis). 2 Dolan notes that, contained in the collective effort of the utopian performative is a sense of “relief,” a respite shared between performer and audience, during which “gestic moments of clarity” can occur (475). 3 In addition, I am interested in exploring how the utopian potential of gestus can help us understand—and perhaps better harness—the staggering but often elusive, affective power of gestus, its ability to make us feel, even just for a moment, part of something larger than ourselves.
Cummings Over a remarkable playwriting career of more than 20 years, Naomi Wallace has demonstrated a sustained and fierce commitment to the examination of identity and power—in terms of race, class, gender, age, nationality, and sexual preference. Nevertheless, her plays are more poetic than rhetorical in structure. They develop searing images and compound metaphors—linguistic, gestural, and theatrical—that avoid didacticism as they focus an audience’s attention on the power dynamics at work in social and economic relations.
108). In Slaughter City, when Brandon does finally get a kiss on his wounded mouth from Roach, it comes with a price. “I’ll give you a kiss,” she says, “if you can take this knife from me” (257). And she takes one of Brandon’s razor-sharp trim knives and puts the thin blade between her teeth, so that their kiss takes the form of the delicate passing of the knife from her mouth to his. “A kiss is a dangerous thing,” she says. And so it is. Nevertheless, the threat of opening up old wounds, literal and figurative alike, elicits a peculiar tenderness from Wallace’s characters.