LEADER 03810nam 2200589 450 001 9910634001003321 005 20230621140815.0 010 $a0-472-90333-0 024 7 $a10.3998/mpub.12210885 035 $a(CKB)5840000000202926 035 $a(NjHacI)995840000000202926 035 $a(OCoLC)1346080688 035 $a(MdBmJHUP)musev2_109422 035 $a(oapen)https://directory.doabooks.org/handle/20.500.12854/95690 035 $a(MiU)10.3998/mpub.12210885 035 $a(MiAaPQ)EBC7150358 035 $a(Au-PeEL)EBL7150358 035 $a(EXLCZ)995840000000202926 100 $a20220927h20222023 uy 0 101 0 $aeng 135 $aur||||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aIn the lurch $everbatim theater and the crisis of democratic deliberation /$fRyan Claycomb 205 $a1st ed. 210 1$aAnn Arbor, Michigan :$cUniversity of Michigan Press,$d2023. 210 4$dİ2022 215 $a1 online resource (viii, 154 pages) 311 $a0-472-05574-7 311 $a0-472-07574-8 320 $aIncludes bibliographical references and index. 327 $aIntro -- Contents -- Acknowledgments -- Introduction: In the Lurch -- One: Democratic Deliberation and the Theatricalized Public Sphere -- Two: Debating in Utopia -- Three: Feeling Together -- Four: The Opposite of Empathy is Suspicion -- Coda: Nostalgia -- or, the Pastness of the Present -- Notes -- Bibliography -- Index. 330 3 $aSome of theater's most powerful works in the past thirty years fall into the category of "verbatim theater," socially engaged performances whose texts rely on word-for-word testimony. Performances such as Fires in the Mirror, The Laramie Project, and The Vagina Monologues have at their best demonstrated how to hold hard conversations about explosive subjects in a liberal democracy. But in this moment of what author Ryan Claycomb terms the "rightward lurch" of western democracies, does this idealized space of democratic deliberation remain effective? In the Lurch asks that question in a pointed and self-reflexive way, tracing the history of this branch of documentary theater with particular attention to the political outcomes and stances these performances seem to seek. But this is not just a disinterested history--Claycomb reflects on his own participation in that political fantasy, including earlier scholarly writing that articulated with breathless hopefulness the potential of verbatim theater, and on his own theatrical attendance, imbued with a belief that witnessing this idealized public sphere was a substitute for actual public participation. In the Lurch also recounts the bumpy path towards its completion, two years marked by presidential impeachments, an insurrection, a national reckoning with racism, and a global pandemic. At the heart of the book is a central question: is verbatim theater any longer an effective cultural response to what can look like the possible end of democracy? 606 $aHistorical drama$y21st century$xHistory and criticism 606 $aHistorical drama$y20th century$xHistory and criticism 606 $aHistorical drama$y21st century$xPolitical aspects 606 $aHistorical drama$y20th century$xPolitical aspects 608 $aCriticism, interpretation, etc.$2fast 608 $aHistory$2fast 615 0$aHistorical drama$xHistory and criticism. 615 0$aHistorical drama$xHistory and criticism. 615 0$aHistorical drama$xPolitical aspects. 615 0$aHistorical drama$xPolitical aspects. 676 $a812.6 700 $aClaycomb$b Ryan$01271813 801 0$bEYM 801 1$bEYM 906 $aBOOK 912 $a9910634001003321 996 $aIn the Lurch$92995995 997 $aUNINA