Trauma and Performance: Maps, narratives and folds

Duggan, Patrick; Wallis, Mick

doi:10.1080/13528165.2011.562674

Cited by 5 publications

(4 citation statements)

References 9 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Recalling this work seems particularly useful in the context of the current volume as the following seeks to illuminate the usefulness of performance practice and theory to new understandings of trauma symptoms, clinical practices and contemporary theories (see also Duggan and Wallis, 2011).…”

Section: Trauma's History Of Performancementioning

confidence: 99%

Trauma and Drama/Theatre/Performance

Duggan¹

2020

The Routledge Companion to Literature and Trauma

Self Cite

View full text Add to dashboard Cite

Section: Trauma's History Of Performancementioning

confidence: 99%

Trauma and Drama/Theatre/Performance

Duggan¹

2020

The Routledge Companion to Literature and Trauma

Self Cite

View full text Add to dashboard Cite

“…Robert while studying at Atlanta, is able to run away and not to return to the Big House, but as he is a victim of trauma, revisits his wounds. Duggan and Wallis (2011) propose in this regard, -the survivor-sufferer performs the symptoms of their suffering, repeatedly and compulsively ‗acting out' words, situations and action from the trauma-event. This repetitive performance is central to contemporary understandings of trauma‖.…”

Section: Robert's Childhood Trauma: "I Have Learned Now That While Those Who Speak About One's Miseries Usually Hurt Those Who Keep Silenmentioning

confidence: 99%

The Trauma in Langston Hughes’s Mulatto

2019

JAHS

View full text Add to dashboard Cite

Langston Hughes's Mulatto is a play that deals with the social life of the African Americans on a Southern plantation in Georgia. The racial attitudes of the Southern white society are the main reason behind traumatizing the central characters in the play. Recent studies demonstrate that racism meets the criteria for trauma. This study will examine the play through the lens of Literary Trauma Theory. This theory is appeared in the middle of 1990s, henceforth it has been developed by so many scholars, and the latest revision is made by Joshua Pederson in 2014. By applying the latest version of trauma theory this study shows how slavery, its aftermath or its legacy affected and haunted African Americans, and created trauma or historical trauma and post-traumatic stress disorder (PTSD) for the African Americans.

show abstract

“…Rather, in a consummate account of the therapeutic impulses underpinning contemporary theatre practice itself, Patrick Duggan and Mick Wallis cast trauma's collective and individual catharsis as 'a key responsibility for theatre/performance practitioners'. 30 For them, theatre provides 'a technical apparatus' through which society might 'aim to live beyond trauma'. 31 What this type of analysis regularly omits, however, is the fact that this acting out is not always also a working through, at least not in a psychotherapeutic sense.…”

Section: Melancholy In Theory: Psychoanalysis History and Performancementioning

confidence: 99%

“…But this is not the sole motivation for returning to a play staged originally in 2002 during a period of comparative national hope, something encumbered since by increasing disillusionment. 8 30 For them, theatre provides 'a technical apparatus' through which society might 'aim to live beyond trauma'. 31 What this type of analysis regularly omits, however, is the fact that this acting out is not always also a working through, at least not in a psychotherapeutic sense.…”

Section: Figmentioning

confidence: 99%

Apartheid Acting Out: Trauma, Confession and the Melancholy of Theatre in Yaël Farber'sHe Left Quietly

Charlton¹

2017

Theatre Research International

View full text Add to dashboard Cite

In 1984, Duma Kumalo was sentenced to death under the apartheid law of common purpose. He was only spared by the transitional negotiations that led to South Africa's first democratic elections in 1994. However, his suffering did not end with his release. Nor did his appearance alongside many other victims of human rights abuse at the country's Truth and Reconciliation Commission provide any measure of therapeutic relief. Instead, he continued to confess, as part of his performance in Yaël Farber's He Left Quietly (2002), to a trauma so overwhelming as to undo, it seems, any such a claim to healing. It has now been ten years since Kumalo passed away and this article returns to Farber's play in order to examine the theatrical form this melancholy takes, the challenge it poses to confessional orthodoxy and the ethical ends towards which such a melancholy performance might potentially drive, even still.

show abstract

Trauma and Performance: Maps, narratives and folds

Cited by 5 publications

References 9 publications

Trauma and Drama/Theatre/Performance

Trauma and Drama/Theatre/Performance

The Trauma in Langston Hughes’s Mulatto

Apartheid Acting Out: Trauma, Confession and the Melancholy of Theatre in Yaël Farber'sHe Left Quietly

Contact Info

Product

Resources

About