Flirting with the postmodern: moments of change in contemporary Irish theatre, performance and culture

Haughton, Miriam

doi:10.1080/09670882.2014.929204

Cited by 3 publications

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“…Potential history for Azoulay means to 'unlearn imperialism', and I would add national imaginaries, by rejecting temporalities that locate violence, such as war and rebellion, to a distant past.Critical agnostic approaches that offer potential histories are evident in the corpus of work by ANU Productions and CoisCéim Dance Theatre. Both Dublin-based award-winning companies story-tell the city/nation through diverse bodies and multiple space-times; produce artworks 'off stage' in nontraditional settings; and invite audiences to become active participants(ANU 2021; CoisCéim Dance Theatre Website 2021a;Haughton 2014;Sweeney 2008;Till 2018;Walsh 2013). I end this section with a brief overview of the artistic companies, after which I move to a discussion of These Rooms.ANU Productions, founded in 2009 by director and theatre artist Louise Lowe and visual artist Owen Boss, challenges 'the history of national selfrepresentation […] by choice of subject and then by the complexity of form', Troubling national commemoration in Dublin, London and Liverpool…”

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Troubling national commemoration in Dublin, London and Liverpool: ANU Production and CoisCéim Dance Theatre’s These Rooms

Till

2021

Journal of Urban Cultural Studies

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The cultural production These Rooms challenged traditional nationalistic commemorations of war and rebellion during the ‘Decade of the Centenaries’. Created by the Dublin-based ANU Productions and CoisCéim Dance Theatre, and funded by the Irish and UK governments, this series of theatre/dance performances, installations and public outreach projects in unconventional urban venues ran from 2016 to 2019 in Dublin, London and Liverpool, cities with mixed British and Irish populations. Fragmentary, embodied stories about the 1916 Easter Rising in Dublin communicated the perspectives of working-class Irish civilian women and confused young British soldiers through intimate domestic encounters that productively disrupted heroic narratives. Audiences were instead invited to create temporary communities of encounter and ‘unlearn’ dominant concepts supporting colonial, imperial and national spaces–times. As a critical agonistic artistic intervention, These Rooms offered more inclusive ‘potential histories’ and forms of belonging across political, social and temporal borders during the geopolitically uncertain times associated with Brexit.

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confidence: 99%