Animal Acts: Performing Species Today by Una Chaudhuri, Holly Hughes

By Una Chaudhuri, Holly Hughes

We all have an animal story—the puppy we enjoyed, the wild animal that captured our formative years mind's eye, the deer the neighbor hit whereas using. whereas clinical breakthroughs in animal cognition, the results of world weather swap and dwindling animal habitats, and the exploding interdisciplinary box of animal reports have complex issues, such tales stay part of how we inform the tale of being human. Animal Acts collects 11 interesting, provocative, and relocating tales by way of solo performers, observed by means of observation that locations the works in a broader context.

Work through best theater artists Holly Hughes, Rachel Rosenthal, Deke Weaver, Carmelita Tropicana, and others joins statement through significant students together with Donna Haraway, Jane Desmond, Jill Dolan, and Nigel Rothfels. Una Chaudhuri’s creation presents an important beginning for knowing and appreciating the intersection of animal stories and function. The anthology foregrounds questions of race, gender, sexuality, classification, kingdom, and different concerns primary to the human venture in the discourse of the “post human,” and should entice readers drawn to solo functionality, animal experiences, gender reports, functionality reviews, and environmental studies.

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Extra resources for Animal Acts: Performing Species Today

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George climbs down the ladder and notices that the floor is wet with a huge mess. She points at the mess and reprimands Liz as if she were a dog who made a mess. GEORGE: Who did this? Who did this? Who did this? Who did this? Who did this? Who did this? The questioning becomes bullying. Liz is on her hands and knees, embarrassed, tail between her legs. George crosses left to her chair. Liz falls to the ground and pants like the dog in Paula Rego’s painting Sleeper throughout George’s monologue.

5 Photographer Vick Ryder has switched around the painting’s viewpoint. Rather than seeing a dog’s profile and the girl’s angry face, we view Makishi’s back as she lifts her skirt to a menagerie of taxidermy specimens—Â�all of them hoofed species of prey. Liz intermittently channels Elizabeth Taylor, through whom she plays with both the George of Who’s Afraid of Virginia Woolf? and the eponymous collie of Lassie Come Home. Note that the character designation is not Richard (Burton): “George” serves as a placeholder for whoever “Liz” needs her to be, at some times making her a dog-Â�surrogate.

We had no intention of moving. Like the place belonged us. ” For one night we were naked and meaningless under the stars. But we couldn’t live like that, could we? We crawled inside another poem, which was more like a story. Prickly with points of view, thick with plots, resistant to any rhyme. We could call it history if you’d like. ” Our first words shatter the night into bright heaps. Our first thoughts are sharp and quick. I know I belong in history, I know I am a predator. I see the bones around my bed.

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