LEADER 03620nam 22006255 450 001 9910154821503321 005 20200629200159.0 010 $a1-349-95133-1 024 7 $a10.1057/978-1-349-95133-8 035 $a(CKB)4340000000018378 035 $a(DE-He213)978-1-349-95133-8 035 $a(MiAaPQ)EBC4748444 035 $a(EXLCZ)994340000000018378 100 $a20161125d2016 u| 0 101 0 $aeng 135 $aurnn|008mamaa 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aANU Productions$b[electronic resource] $eThe Monto Cycle /$fby Brian Singleton 205 $a1st ed. 2016. 210 1$aLondon :$cPalgrave Macmillan UK :$cImprint: Palgrave Pivot,$d2016. 215 $a1 online resource (XI, 109 p. 10 illus.) 225 1 $aPalgrave Pivot 311 $a1-349-95132-3 320 $aIncludes bibliographical references and index. 327 $a1. Introduction -- 2. World?s End Lane -- 3. Laundry -- 4. The Boys of Foley Street -- 5. Vardo -- 6. Conclusion -- Bibliography. 330 $aThis book sets out strategies of analysis of the award-winning tetralogy of performances (2010-14) by ANU Productions known as ?The Monto Cycle?. Set within a quarter square mile of Dublin?s north inner city, colloquially known as The Monto, these performances featured social concerns that have blighted the area over the past 100 years, including prostitution, trafficking, asylum-seeking, heroin addiction, and the scandal of the Magdalene laundries. While placing the four productions in their social, historical, cultural and economic contexts, the book examines these performances that operated at the intersection of performance, installation, visual art, choreography, site-responsive and community arts. In doing so, it explores their concerns with time, place, history, memory, the city, ?affect?, and the self as agent of action. Brian Singleton is Samuel Beckett Professor Drama & Theatre, and Academic Director of The Lir ? National Academy of Dramatic Art at Trinity College Dublin, Ireland. He is the author of Masculinities and the Contemporary Irish Theatre (2011, 2015), and edits (with Elaine Aston) the book series ?Contemporary Performance InterActions? for Palgrave Macmillan. 410 0$aPalgrave pivot. 606 $aPerforming arts 606 $aTheater?History 606 $aSocial history 606 $aEthnology?Europe 606 $aGreat Britain?History 606 $aPerforming Arts$3https://scigraph.springernature.com/ontologies/product-market-codes/415030 606 $aTheatre History$3https://scigraph.springernature.com/ontologies/product-market-codes/415010 606 $aSocial History$3https://scigraph.springernature.com/ontologies/product-market-codes/724000 606 $aBritish Culture$3https://scigraph.springernature.com/ontologies/product-market-codes/411050 606 $aHistory of Britain and Ireland$3https://scigraph.springernature.com/ontologies/product-market-codes/717020 615 0$aPerforming arts. 615 0$aTheater?History. 615 0$aSocial history. 615 0$aEthnology?Europe. 615 0$aGreat Britain?History. 615 14$aPerforming Arts. 615 24$aTheatre History. 615 24$aSocial History. 615 24$aBritish Culture. 615 24$aHistory of Britain and Ireland. 676 $a790 700 $aSingleton$b Brian$4aut$4http://id.loc.gov/vocabulary/relators/aut$01063657 906 $aBOOK 912 $a9910154821503321 996 $aANU Productions$92533449 997 $aUNINA