LEADER 02869nam 2200349 n 450 001 9910887999203321 005 20230511214234.0 035 $a(CKB)5470000000567084 035 $a(NjHacI)995470000000567084 035 $a(EXLCZ)995470000000567084 100 $a20230511d2016 uy 0 101 0 $aeng 135 $aur||||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aDon't Be Quiet, Start a Riot! Essays on Feminism and Performance /$fTiina Rosenberg 210 1$aStockholm, Sweden :$cStockholm University Press,$d2016. 215 $a1 online resource (264 pages) 311 $a91-7635-022-3 327 $aIntroduction -- Part 1: Envoicing gender and sexuality -- 1. The touch of opera, or, can a feminist forgive anything for a good tune? -- 2. No questions asked: Wagnerian love ban in Lohengrin -- 3. Who's who underneath the kimono? Queer mysteries of M. Butterfly -- 4. Queer feelings: Zarah Leander, sentimentality, and the gay diva worship -- 5. The soundtrack of revolution: memory, affect, and the power of protest songs -- Part 2: Scandinavian classics -- 6. Queer Tintomara: ephemeral and elusive gender(s) in The Queen's Diadem -- 7. AGAINST LOVE: Nora and Hedda on the contemporary Scandinavian stage -- 8. From here to eternity: Miss Julie strikes back and refuses to die -- Part 3: On feminist activist aesthetics -- 9. Still angry after all these years, or Valerie Solanas under my skin -- 10. Solidarity lost and found. Reflections on contemporary feminist performance -- 11. Against tolerance: thoughts on contemporary Scandinavian racism -- 12. Don't be quiet, start a riot! On feminist activist performance -- Index of persons. 330 $aThis collection of essays investigates elements of the human voice and performance, and their implications for gender and sexuality. The chapters address affect, pleasure, and memory in the enjoyment of musical and theatrical performance. Rosenberg also examines contemporary feminist performance, anti-racist interventions, activist aesthetics, and political agency especially with regard to feminist and queer interpretations of opera and theatre. She contextualizes her work within broader developments in gender and queer studies, and within the feminist movement by highlighting important contributions of artists who draw from the above to create performance. The book will be welcomed by opera and theatre lovers, students, academics, and the wider public that is interested in the performing arts and its queer feminist potential. 606 $aFeminism and art 615 0$aFeminism and art. 676 $a701.03 700 $aRosenberg$b Tiina$01262056 801 0$bNjHacI 801 1$bNjHacl 906 $aBOOK 912 $a9910887999203321 996 $aDon?t be quiet, start a riot$92947602 997 $aUNINA