LEADER 03854nam 2200589 450 001 9910794125003321 005 20230803203033.0 010 $a0-253-04952-0 010 $a0-253-04951-2 035 $a(CKB)4100000011262508 035 $a(MiAaPQ)EBC6208472 035 $a(OCoLC)1155708819 035 $a(MdBmJHUP)musev2_84606 035 $a(MiAaPQ)EBC30536278 035 $a(Au-PeEL)EBL30536278 035 $a(EXLCZ)994100000011262508 100 $a20230803d2020 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 14$aThe memory marketplace $ewitnessing pain in contemporary Irish and international theatre /$fEmilie Pine 205 $aFirst edition. 210 1$aBloomington, Indiana :$cIndiana University Press,$d[2020] 210 4$dİ2020 215 $a1 online resource (262 pages) 225 1 $aIrish culture, memory, place 300 $aIncludes bibliographical references and index. 311 $a0-253-04950-4 320 $aIncludes bibliographical references and index. 327 $aIntroduction: The Market for Pain -- Tell Them That You Saw Us: Witnessing Docu-verbatim Memory -- The Witness as Commodity: Autoperforming Memory -- The Commissioned Witness, Theatre, and Truth -- The Immaterial Labor of Listening: Presence, Absence, Failure, and the Commodification of the Witness -- Consumers or Witnesses: Site-Specific Performance -- Conclusion: Activism in the Marketplace. 330 3 $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". 330 3 $aIntroduction: The Market for Pain -- Tell Them That You Saw Us: Witnessing Docu-verbatim Memory -- The Witness as Commodity: Autoperforming Memory -- The Commissioned Witness, Theatre, and Truth -- The Immaterial Labor of Listening: Presence, Absence, Failure, and the Commodification of the Witness -- Consumers or Witnesses: Site-Specific Performance -- Conclusion: Activism in the Marketplace. 410 0$aIrish culture, memory, and place. 606 $aPain in literature 606 $aPsychic trauma in literature 606 $aCollective memory in literature 606 $aCollective memory and literature 615 0$aPain in literature. 615 0$aPsychic trauma in literature. 615 0$aCollective memory in literature. 615 0$aCollective memory and literature. 676 $a809.93353 700 $aPine$b Emilie$01121173 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910794125003321 996 $aThe memory marketplace$93750137 997 $aUNINA