By Brian Singleton
This ebook units out suggestions of study of the award-winning tetralogy of performances (2010-14) via ANU Productions referred to as ‘The Monto Cycle’. Set inside 1 / 4 sq. mile of Dublin’s north internal urban, colloquially often called The Monto, those performances featured social matters that experience blighted the realm over the last a hundred years, together with prostitution, trafficking, asylum-seeking, heroin dependancy, and the scandal of the Magdalene laundries. whereas putting the 4 productions of their social, ancient, cultural and fiscal contexts, the booklet examines those performances that operated on the intersection of functionality, set up, visible artwork, choreography, site-responsive and group arts. In doing so, it explores their matters with time, position, heritage, reminiscence, town, ‘affect’, and the self as agent of action.
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Extra resources for ANU Productions: The Monto Cycle
Gareth White, ‘On Immersive Theatre’. Theatre Research International, Vol. 37, Issue 3 (October 2012), pp. 221–235. ). (White October 2012) 13. Caomhan Keane, Review of World’s End Lane, Diatribes of a Dilettante. ) 14. Machon, Josephine, (Syn)aesthetics: Redeﬁning Visceral Performance. Basingstoke & New York: Palgrave Macmillan, 2009, p. 14. (Machon 2009) 15. ) 16. Marc Augé, Non-Places: An Introduction to Supermodernity. 2nd edition. London & New York: Verso, 1997, p. 90. (Augé 1997) 17. Augé, p.
Machon, Josephine, (Syn)aesthetics: Redeﬁning Visceral Performance. Basingstoke & New York: Palgrave Macmillan, 2009, p. 14. (Machon 2009) 15. ) 16. Marc Augé, Non-Places: An Introduction to Supermodernity. 2nd edition. London & New York: Verso, 1997, p. 90. (Augé 1997) 17. Augé, p. 63. 18. Michel de Certeau, The Practice of Everyday Life. Translated by Steven Rendall. Berkeley, Los Angeles & London: University of California Press, 1998, p. 93. (de Certeau 1998) 19. Brian Singleton, ‘ANU Productions and Site-speciﬁc Performance: The Politics of Space and Place’, Breac: A Digital Journal of Irish Studies, 10 July 2014.
This time there was a young man (played by Robbie O’Connor) once more in contemporary clothing sitting on a chair. There was no chair for me so I stood. He caught my eye numerous times and I uncomfortably tried not to look at him. Several times he stood up and started banging on the locked door. He was clearly representing someone who was trying to see his girlfriend or sister who was incarcerated therein. He told me he had been waiting a long time and asked me how long I had been waiting. This was the ﬁrst of many times when I had to choose whether to participate.