000			03517cam a2200469Mi 4500
001			on1155708819
003			OCoLC
005			20240726105144.0
008			200602s2020 inu ob 001 0 eng d
040			_aYDX _beng _erda _epn _cYDX _dOCLCO _dEBLCP _dNT _dRECBK _dJSTOR
020			_a9780253049513 _q((electronic)l(electronic)ctronic)
020			_a9780253054982 _q((electronic)l(electronic)ctronic)
043			_ae-ie---
050	0	4	_aPN2601 _b.M466 2020
049			_aMAIN
100	1		_aPine, Emilie, _e1
245	1	0	_aThe memory marketplace : _bwitnessing pain in contemporary Irish and international theatre / _cEmilie Pine.
260			_aBloomington : _bIndiana University Press, _c(c)2020.
300			_a1 online resource (pages cm.).
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_adata file _2rda
490	0		_aIrish culture, memory, place
504			_a2
520	0		_a"What happens when cultural memory becomes a commodity? Who owns the memory? In The Memory Marketplace, Emilie Pine explores how memory is performed both in Ireland and abroad by considering the significant body of contemporary Irish theatre that contends with its own culture and history. Analyzing examples from this realm of theatre, Pine focuses on the idea of witnesses, both as performers on stage and as members of the audience. Whose memories are observed in these transactions, and how and why do performances prioritize some memories over others? What does it mean to create, rehearse, perform, and purchase the theatricalization of memory? The Memory Marketplace shows this transaction to be particularly fraught in the theatricalization of traumatic moments of cultural upheaval, such as the child sexual abuse scandal in Ireland. In these performances, the role of empathy becomes key within the marketplace dynamic, and Pine argues that this empathy shapes the kinds of witnesses created. The complexities and nuances of this exchange-subject and witness, spectator and performer, consumer and commodified-provide a deeper understanding of the crucial role theatre plays in shaping public understanding of trauma, memory, and history"-- _cProvided by publisher.
505	0	0	_aIntroduction: The Market for Pain -- _tTell Them That You Saw Us: Witnessing Docu-verbatim Memory -- _tThe Witness as Commodity: Autoperforming Memory -- _tThe Commissioned Witness, Theatre, and Truth -- _tThe Immaterial Labor of Listening: Presence, Absence, Failure, and the Commodification of the Witness -- _tConsumers or Witnesses: Site-Specific Performance -- _tConclusion: Activism in the Marketplace.
530			_a2 _ub
650		0	_aTheater and society _zIreland _xHistory _y21st century.
650		0	_aDrama _xSocial aspects _zIreland _xHistory and criticism.
650		0	_aTheater and society _xHistory _y20th century.
650		0	_aDrama _xSocial aspects _xHistory and criticism.
650		0	_aPain in literature.
650		0	_aPsychic trauma in literature.
650		0	_aCollective memory in literature.
650		0	_aCollective memory and literature.
655		1	_aElectronic Books.
856	4	0	_uhttps://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=2483394&site=eds-live&custid=s3260518 _zClick to access digital title | log in using your CIU ID number and my.ciu.edu password
942			_cOB _D _eEB _hPN _m2020 _QOL _R _x _8NFIC _2LOC
994			_a92 _bNT
999			_c90876 _d90876
902			_a1 _bCynthia Snell _c1 _dCynthia Snell