Working memories

Street theatre and the production of postindustrial space explores how street theatre transforms industrial space into postindustrial space. Deindustrializing communities have increasingly turned to cultural projects to commemorate industrial heritage while simultaneously generating surplus value and jobs in a changing economy. Through analysis of French street theatre companies working out of converted industrial sites, this book reveals how theatre and performance more generally participate in and make historical sense of ongoing urban and economic change. The book argues, firstly, that deindustrialization and redevelopment rely on the spatial and temporal logics of theatre and performance. Redevelopment requires theatrical events and performative acts that revise, resituate, and re-embody particular pasts. The book proposes working memory as a central metaphor for these processes. The book argues, secondly, that in contemporary France street theatre has emerged as working memory's privileged artistic form. If the transition from industrial to postindustrial space relies on theatrical logics, those logics will manifest differently depending on geographic context. The book links the proliferation of street theatre in France since the 1970s to the crisis in Fordist-Taylorist modernity. How have street theatre companies converted spaces of manufacturing into spaces of theatrical production? How do these companies (with municipal governments and developers) connect their work to the work that occurred in these spaces in the past? How do those connections manifest in theatrical events, and how do such events give shape and meaning to redevelopment? Street theatre’s function is both economic and historiographic. It makes the past intelligible as past and useful to the present.

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histories and crucibles of diasporic trajectories “where Europe is not at ‘the center’ – which retain a critical bearing on understanding contemporary diasporic formations and their inter-relationships.” Thus, it is necessary to deploy “diaspora space,” which is a concept introduced by Avtar Brah ( 1996 ) to explore the lateral connections between diasporas – the ways “in which

in Sport in the Black Atlantic
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Digital photography and cartography in Wolfgang Weileder’s Atlas

5 ‘Space-crossed time’: digital photography and cartography in Wolfgang Weileder’s Atlas1 Rachel Wells The places we have known do not belong only to the world of space on which we map them for our own convenience. They were only a thin slice, held between the contiguous impressions that composed our life at that time; the memory of a particular image is but regret for a particular moment; and houses, roads, avenues are as ­fugitive, alas, as the years. (Proust, 2002: 513) The creation of an ‘Atlas’ is an ambitious project. The word suggests accuracy in detail

in Time for mapping

2 Challenging nursing spaces In June 1944, Sister Agnes Morgan wrote to her mother from a CCS near Rome: We are frightfully short staffed as a lot of the girls are working at forward F.D.S.s (field dressing stations) and we work like a C.C.S. except that we still think of ourselves as a Hospital and strive to do the ‘little extra’ that makes a difference between a C.C.S. and a Hospital! It is all impossible and rather hopeless, as the tide of human misery and suffering streams in too fast for us to do more than the bare necessities ... under canvas and all the

in Negotiating nursing

I focus on two contemporary art installations in which Teresa Margolles employs water used to wash corpses during autopsies. By running this water through a fog machine or through air conditioners, these works incorporate bodily matter but refuse to depict, identify or locate anybody (or any body) within it. Rather, Margolles creates abstract works in which physical limits – whether of bodies or of art works – dissolve into a state of indeterminacy. With that pervasive distribution of corporeal matter, Margolles charts the dissolution of the social, political and spatial borders that contain death from the public sphere. In discussing these works, I consider Margolles’ practice in relation to the social and aesthetic function of the morgue. Specifically, I consider how Margolles turns the morgue inside out, opening it upon the city in order to explore the inoperative distinctions between spaces of sociality and those of death. In turn, I consider how Margolles places viewers in uneasy proximity to mortality, bodily abjection and violence in order to illustrate the social, political and aesthetic conditions by which bodies become unidentifiable. I ultimately argue that her aesthetic strategies match her ethical aspirations to reconsider relations to death, violence and loss within the social realm.

Human Remains and Violence: An Interdisciplinary Journal
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Writing home in recent Irish memoirs and autobiographies (John McGahern’s Memoir, Hugo Hamilton’s The Speckled People, Seamus Deane’s Reading in the Dark and John Walsh’s The Falling Angels)

9780719075636_4_013.qxd 16/2/09 9:29 AM Page 232 13 ‘Sacred spaces’: writing home in recent Irish memoirs and autobiographies (John McGahern’s Memoir, Hugo Hamilton’s The Speckled People, Seamus Deane’s Reading in the Dark and John Walsh’s The Falling Angels) Stephen Regan One of the familiar conventions of autobiography is its revelation of an individual life through a compelling first-person narrative voice. To work upon its readers most effectively, autobiography needs to present the life in question as both unique and typical; it must offer an appealing

in Irish literature since 1990

11 Contemporary developments in political space in France Robert Andersen and Jocelyn A. J. Evans System context Contemporary developments in political space Introduction The emphasis of the book thus far has been on individual parties and coalitions. Nonetheless, the demand side of the equation also provides an important context to party success because it helps define the political space in which parties must compete for voters. In this chapter, then, we focus on French political space over the last fifteen years as defined by the socio-demographic and

in The French party system
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Working memory

on that history as a source of stability even as the group shapes and reshapes it, thereby revealing how unstable it is. This interweaving of authenticity and fakery, of duration and ephemerality, of embodiment and absence, of time and space, makes up the fabric of history, memory, and, of course, theatre. Introduction: working memory 3 This is a book about how street theatre companies and their performances produce postindustrial space. It takes as its objects of analysis the institutions and events of contemporary French street theatre. At its core, this book

in Street theatre and the production of postindustrial space
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Alternative pasts, sustainable futures

Coudre’s Eclosion floraferrique (Floraferrous spawning, first created in 2010) invites the spectator to explore an environment full of numerous mechanical plants, several of which move in response to human presence.1 With their metallic bodies curved into sensuous, organic structures, the sculptures of Eclosion floraferrique are close cousins of Hector Guimard’s Art Nouveau designs for the Paris Métro, and like those designs they signal a fantastical, ornamental transformation of common elements of public space. The components of Eclosion floraferrique include street

in Street theatre and the production of postindustrial space
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Street and theatre at the end of Fordism

cause the summer street theatre festival any more than the summer street theatre festival caused the autumn oil embargo. But the deindustrialization, economic crisis, and urban change that ensued provide more than mere context for the development of French street theatre; they furnished contemporary street theatre with its material and symbolic conditions of possibility. The move away from high modernist urban projects after 1973 signalled a Theatre in ruins 25 return to what David Wiles has called a ‘traditionalist public space’ in which small-scale street

in Street theatre and the production of postindustrial space