Read e-book online Captive audience : prison and captivity in contemporary PDF
By Thomas Fahy, Kimball King
This all-new assortment examines the social, gendered, ethnic, and cultural difficulties of incarceration as explored in modern theatre.
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Extra info for Captive audience : prison and captivity in contemporary theater
Women not only have to navigate their own survival of multiple forms of violence—physical, emotional, environmental, historical—they also have to deal with the repercussions of the violence men do to one another. ” Too often women of color find themselves cast in supportive starring roles to the men in their families and communities directed into the hellish depths of the prison industrial complex. Behind every man in prison stands a woman providing his lifeline to humanity in the form of emotional support, organized visits, collect phone calls, letters and packages, even legal aid and research assistance.
New York: Performing Arts Journal Publications, 1986. Fraden, Rena. Imagining Medea: Rhodessa Jones and Theater for Incarcerated Women. Chapel Hill: The University of North Carolina Press, 2001. Moraga, Cherríe. Loving in the War Years/lo que nunca paso por sus labios. : South End Press, 2000. ——. Heroes and Saints & Other Plays. Albuquerque: West End Press, 2000. ——. The Hungry Woman. Albuquerque: West End Press, 2001. Russell, Kosmond. The Visit. Unpublished manuscript. Provided at the courtesy of the author.
2. Confession itself, as a sacrament, does not occur in the Christian church until the thirteenth century. Peter Brooks argues that it is only then, with the official admission of confession in church politics and culture, that the modern world begins: [Confession]…offers articulation of hidden acts and thoughts in a form that reveals—perhaps in a sense creates—the inwardness of the person confessing, and allows the person’s punishment, absolution, rehabilitation, reintegration…. The requirement of confession imposed by the Church in the thirteenth century both reflects and instigates the emergence of the modern sense of selfhood and the individual’s responsibility for his or her actions, intentions, thoughts —and for the acts of speech that lay them bare.
Captive audience : prison and captivity in contemporary theater by Thomas Fahy, Kimball King