Captive Audience: Prison and Captivity in Contemporary by Thomas Fahy

By Thomas Fahy

The 1st assortment in this vital subject, Captive viewers examines the social, gendered, ethnic, and cultural difficulties of incarceration as explored in modern theatre. starting with an essay via Harold Pinter, the unique contributions speak about paintings together with Harold Pinter's screenplays for The Handmaid's story and The Trial, Theatrical legal tasks and Marat/Sade. Kimball King, Thomas Fahy, Rena Fraden, Tiffany Ana Lopez, Fiona generators, Harold Pinter, Ann C. corridor, Christopher C. Hudgins, Pamela Cooper, Robert F. Gross, Claudia Barnett, Lois Gordon

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Additional resources for Captive Audience: Prison and Captivity in Contemporary Theatre (Studies in Moderndrama, 19)

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Sandoval-Sánchez notes that one of the first major Latino/a theater groups, Teatro Campesino, dedicated itself to “one-act interlingual performances, created collectively, had well-defined political platforms: ‘Actos: inspire the audience to social action. Illuminate specific points about social problems. Satirize the opposition. Show or hint at a solution. Express what people are feeling’” (Sandoval-Sánchez 105). He suggests that an essential element of Latino/a drama is a focus on social action and change.

This place welcomes a man who is full of rage and violence. Here he is not abnormal or perceived as different. Here rage is nothing new, and for men scarred by child abuse and violent lives, the prison is an extension of inner life. We learn to abuse and reabuse ourselves by moving in and out of places like San Quentin. (Sabo et al. 205) I suspect this is true for my brother. Tragically, our family is actually closer now that my father no longer lives to terrorize us, now that we are united in empathetic support for my brother.

Diedre Murray worked with Eady composing music for the poems, but they came to feel that the music was interrupting the narrative flow of the piece; they decided in the end to use music only as background to the words. Brutal Imagination ran from December through January 2001–02 at the Vineyard Theatre in New York City. Joe Morton and Sally Murphy played Mr. Zero and Susan Smith; it was directed by Diane Paulus. 7. Cornelius Eady, Brutal Imagination 5. All further quotations taken from the unpublished theater script.

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