Captive audience : prison and captivity in contemporary by Thomas Fahy, Kimball King PDF
By Thomas Fahy, Kimball King
ISBN-10: 0203494857
ISBN-13: 9780203494851
This all-new assortment examines the social, gendered, ethnic, and cultural difficulties of incarceration as explored in modern theatre.
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Additional info for Captive audience : prison and captivity in contemporary theater
Example text
The control of women’s bodies definitely dictates the tone for the prison visit. This particular prison is located in the desert. Despite temperatures that exceed 100 degrees, sleeveless shirts are strictly forbidden, as are underwire bras. No sports bra on hand in the car? Then you won’t see your inmate, because going commando is not an option; underwear is mandatory. If you unwittingly come in the wrong attire, you have to embrace improvisation without shame. Approval of a particular shirt on Friday does not guarantee approval of the same shirt on Sunday.
The Hungry Woman. Albuquerque: West End Press, 2001. Russell, Kosmond. The Visit. Unpublished manuscript. Provided at the courtesy of the author. Kupers, and Willie London eds. Prison Masculinities. Philadelphia: Temple University Press, 2001. Tal, Kali. Worlds of Hurt: Reading the Literatures of Trauma. Cambridge: Cambridge University Press, 1996. Trounstine, Jean. Shakespeare behind Bars: The Power of Drama in a Women’s Prison. New York: St. Martin’s Press, 2001. Yarbro-Bejarano, Yvonne. The Wounded Heart: Writing on Cherrie Moraga.
In discussing his play’s focus on prison, Piñero contended, “Prison is a society within a society. It’s a reflection of life in the streets. The jargon may be different, but we think and feel the same as on the streets and we recreate it in prison” (Wahls 1). It is the play’s pointed depiction of life among the lower classes and the visceral response it elicited from its racially diverse audience that disturbed drama critics the most. 8 In his introduction to Short Eyes, Marvin Felix Camillo admonishes readers to look beyond the prison setting of this play (as weli as Piñero’s own incarceration) in order to embrace its universality.
Captive audience : prison and captivity in contemporary theater by Thomas Fahy, Kimball King
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