Description
Book SynopsisProposing the innovative concept of palimpsest bodies to interpret provocative theatre and performance experiments that explore issues of cultural memory, bodies of history, archives, repertoires and performing remains, Ruth Hellier-Tinoco offers an in-depth analysis of four postdramatic and transdisciplinary collective creation theatre projects. Combined with ideas of postmemory and rememory, palimpsest bodies are inherently trans-temporal as they perform re-visions of embodied gestures, vocalized calls and sensory experiences.
Focusing on one of Mexico’s most significant contemporary theatre companies, La Máquina de Teatro, directed by renowned artists Juliana Faesler and Clarissa Malheiros, this ground-breaking study documents the playfully rigorous performances of layered, plural and trans identities as collaborative, feminist and queer re-visions of official histories and collective memories.
Illustrated with over one hundred colour photos, Performing Palimpsest Bodies: Postmemory Theatre Experiments in Mexico will appeal to creative artists and scholars interested in contemporary theatre and performance studies, critical dance studies, collective creation and performance-making.
Table of ContentsList of illustrations
Acknowledgements
Section One: Outlines
Introduction: Creating theatre through remains of bodies of history
Chapter 1: Performing re-visions: Palimpsests, postmemory, rememory and remains
Chapter 2: La Máquina de Teatro: Trans-temporal theatres, bodies and environments in Mexico
Section Two: Four Performance Projects
Chapter 3: Mexican Trilogy: Scenic correlation of memory and times - Five performers, three years, three entangled parts:
-
Nezahualcóyotl / Scenic Correlation of Memory and Times;
-
Moctezuma II / The Dirty War;
-
Malinche / Malinches
Chapter 4: Zapata, Death Without End: Five collectives, one year, co-participatory performance
Chapter 5: War in Paradise: Twenty-five performers, three weeks, work-in-progress
Chapter 6: Time of the Devil: Trans-solo, one body, many body parts
Epilogue: Theatre for generating futures: Performing archives, remaining differently
References
Notes
Index
