By David Cregan
This ebook includes an exhilarating selection of essays concentrating on numerous substitute performances taking place in modern eire. range has continuously been part of Irish tradition and is, actually, shaping what it potential to be Irish at the present time. within there are provocative chapters from students, theatre manufacturers, and theatre artists from around the globe interpreting every little thing from the drag scene in Dublin to the homosexual satisfaction Parades in Belfast.
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Extra info for Deviant Acts: Essays on Queer Performance
P. 62. 23 The Irish Times 1 November 1989, p 12. 24 Terry Eagleton, St Oscar (Derry: Field Day, 1989), pp. x-xi. 25 Eagleton, p. viii. 26 Ibid, p. 6. 27 Ibid. 28 Ibid, pp. 13-17. 29 Ibid, p. 23. 1. 31 The Irish Times 2 October 1997, p. 12. 32 Tom Kilroy, The Secret Fall of Constance Wilde (Dublin: Gallery Press, 1997), p. 66. 33 Ibid, p. 20. 34 Ibid, p. 30. 35 Tom Kilroy, My Scandalous Life (Meath: The Gallery Press, 2004), p. 9. 36 Ibid, pp. 25-26. 6 7 24 Essays on Queer Performance Ibid, p.
9 For Kirkland, ‘camp becomes indicative of an overdetermined identity formation’(127). By the time he engages in close reading of ‘camp’ formations (which he characterizes as belonging to one of three ‘forms’: dissenting camp, unionist camp, and nationalist camp), camp has become a ‘spectacular critique (a critique through spectacle) of the earnest values it wishes to promote’ (135). For Kirkland, camp is unintentional parody, parody through excess, parody through failed repetition à la Butler.
And in that, it has the potential to be inclusive and even, as Sontag implies, generous. The use of humour in response to the conflict in Northern Ireland is by no means a new approach; one can name many artists, such as Stewart Parker, Robert McLiam Wilson, and Paul Muldoon who, in different ways, have incorporated humour, albeit often of a dark sort, in their work. But the playful and good-humoured public parody that Pride’s camp performances enact of the actual signs and structures of the conflict – from identity to parading to flags – is both a novel approach and a political one, despite Sontag’s (in)famous assertion that ‘comedy is an experience of underinvolvement, of detachment’, and that the ‘camp sensibility’ is, ‘it goes without saying’, ‘disengaged, depoliticized – or at least apolitical’ (Sontag, 54).
Deviant Acts: Essays on Queer Performance by David Cregan
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