About this book
Drawing on the work of scholars and practitioners such as Augusto Boal, Gloria Anzaldua, and Trinh Minh-ha, these essays advocate oral history and oral history-based performance as means to challenge and expand upon traditional ways of transmitting historical knowledge. The contributors' central concerns are performative aspects of oral history itself and the theatrical or classroom "re-performance" of oral history. The essays detail classroom and public pedagogies, community-based interventions, processes of developing interview-based performances, and the ethical and political implications of oral history as an embodied form of representation. The essays collected in this volume present the most current scholarship straddling the rich intersection between oral history and performance, and together suggest ways for scholars and performers to use oral history to challenge more traditional modes of knowledge.
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Table of contents
- Cover
- Contents
- Acknowledgments
- Preface
- ONE: Introduction: Remembering
- TWO: Trying To Be Good: Lessons in Oral History and Performance
- THREE: Touchable Stories and the Performance of Infrastructural Memory
- FOUR: Bringing Old and Young People Together: An Interview Project
- FIVE: Memory and Performance in Staging The Line in Milwaukee: A Play About the Bitter Patrick Cudahy Strike of 1987–1989
- SIX: Remembering Toward Loss: Performing And so there are pieces…
- SEVEN: “Tic(k)”: A Performance of Time and Memory
- EIGHT: “My Desire is for the Poor to Speak Well of Me”
- NINE: Experiencing History: A Journey from Oral History to Performance
- Afterword: Reverberations
- List of Contributors
- Index
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