This book is a provocative new study of global feminist activism that opposes neoliberal regimes across several sites including Asia, Australia, Canada, Europe, Latin America and the United States. The feminist performative acts featured in the book contest the aggressive unravelling of collectively won gains in gender, sexual and racial equality, the appearance of new planes of discrimination, and the social consequences of political economies based on free market ideology. The investigations of affect theory follow the circulation of intensities – of political impingements on bodies, subjective and symbolic violence, and the shock of dispossession – within and beyond individuals to the social and political sphere. Affect is a helpful matrix for discussing the volatile interactivity between performer and spectator, whether live or technologically mediated. Contending that there is no activism without affect, the collection brings back to the table the activist and hopeful potential offeminism.
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Introduction.- Part I. Affect, Performance and the Neoliberal State.- Chapter 1. The Affective Performance of State Love; Sue-Ellen Case.- Chapter 2. ‘Not Now, Not Ever’; Denise Varney.- Chapter 3. Performing Sovereignty against Jurisprudential Death in an Australian State of Exception; Sandra D’urso.- Chapter 4. Imagining Love in a Neoliberal Japan; Nobuko Anan.- Chapter 5. Nisti Stêrk’s Affective Spaces in For Sweden – With the Times (För Sverige i tiden!); Christina Svens.- Part II. Violence and Performance Activism.- Chapter 6. Raging On; Diana Taylor.- Chapter 7. The Limits of Witness; Candice Amich.- Chapter 8. Protesting violence; Bishnupriya Dutt.- Chapter 9. My Cunt, My Rules!; Tiina Rosenberg.- Part III. Global Spectacles.- Chapter 10. Mapping Abramović, From Affect to Emotion; Marla Carlson.- Chapter 11. Virtuosity: Dance, Entrepreneurialism, and Nostalgia in Stage Irish Performance; Aoife Monks.- Chapter 12. Neoliberal post-feminism, neo-burlesque, and the politics of affect in the performances of Moira Finucane; Sarah French.- Chapter 13. Affecting the Apparatus; Antje Budde.- Chapter 14. Buy One, Get One Free; Urmimala Sarkar.- Part IV . Resistance and Theatre Politics.- Chapter 15. When Will They Hear Our Voices?; Charlotte Canning.- Chapter 16. Voices of the 880, 000 Won Generation; Jung-Soon Shim.- Chapter 17. A woman artist in the neoliberal Chilean jungle; María José Contreras.- Chapter 18. Female Actors in Swaang; Vibha Sharma.- Part V . Affect and Site-Specific Performance.- Chapter 19. Feminism, Assemblage, and Performance; Elin Diamond.- Chapter 20. Feeling Out of Place; Shonagh Hill.- Chapter 21. Between the Flesh and the Remains; Ana Bernstein.- Chapter 22. Precarity, Performance and Activism in Recent Works by Ito Tari and Yamashiro Chikako; Rebecca Jennison.
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Elin Diamond is Professor of English and Comparative Literature at Rutgers University, USA.
Denise Varney is Professor of Theatre Studies and co-director of the Australian Centre in the School of Culture and Communication at the University of Melbourne, Australia.
Candice Amich is Assistant Professor of English at Vanderbilt University, USA.
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