LEADER 03301nam 22004693 450 001 9910723700903321 005 20241003010829.0 010 $a0-472-90370-5 035 $a(CKB)26809526000041 035 $a(MiAaPQ)EBC30546703 035 $a(Au-PeEL)EBL30546703 035 $a(NjHacI)9926809526000041 035 $a(EXLCZ)9926809526000041 100 $a20230619d2023 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aViewers in Distress $eRace, Gender, Religion, and Avant-Garde Performance at the Turn of the Twenty-First Century 205 $a1st ed. 210 1$aAnn Arbor :$cUniversity of Michigan Press,$d2023. 210 4$dİ2023. 215 $a1 online resource (223 pages) 311 $a9780472076321 327 $aIntro -- Contents -- Illustrations -- Introduction: "Can We All Along?" Get -- Chapter 1: The Radical Formalism of Suzan-Lori Parks and Sarah Kane -- Chapter 2: A Spectator Prepares: Forced Entertainment's Theater of Critical Feeling -- Chapter 3: The Behzti Riot as a Contemporary Avant-Garde -- Chapter 4: Feeling Bad about Being White: Young Jean Lee's Theater and the Progressive Avant-Garde -- Coda: The Liberal Individual's Postmodern Return -- Notes -- Bibliography -- Index. 330 $aConventional notions of avant-garde art suggest innovative artists rebelling against artistic convention and social propriety, shocking unwilling audiences into new ways of seeing and living. Viewers in Distress tells a different story. Beginning in the tumultuous 1990s, after the fall of the Berlin Wall and in the wake of the Los Angeles riots, rebellious spectators in American and British theaters broke with theater decorum and voiced their radical interpretations of shows that were not meant to be radical. In doing so, audiences tried to understand the complex racial, gender, and religious politics of their times, while insisting that liberal societies fulfill their promise of dignity for all. Stefka Mihaylova argues that such non-conforming viewing amounts to an avant-garde of its own: a bold reimagining of how we live together and tell stories of our lives together, aimed to achieve liberalism's promise. In telling this story, she analyzes the production and reception politics of works by Susan-Lori Parks, Sarah Kane, Forced Entertainment, Gurpreet Kaur Bhatti, and Young Jean Lee, as well as non-theatrical controversies such as the conflict over Halloween costumes at Yale in 2015. At the core of spectators' discontent, this book suggests, is an effort to figure out how to get along with people different from ourselves in the diverse U.S. and British societies in which we live. 606 $aTheater$xPolitical aspects$xHistory$y21st century 606 $aExperimental theater$xHistory 606 $aGender identity in the theater 615 0$aTheater$xPolitical aspects$xHistory 615 0$aExperimental theater$xHistory. 615 0$aGender identity in the theater. 676 $a792.0905 700 $aMihaylova$b Stefka G$01770189 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910723700903321 996 $aViewers in Distress$94248331 997 $aUNINA