1st Edition
The Figure of the Monster in Global Theatre Further Readings on the Aesthetics of Disqualification
List of Contributors
Introduction: A Global Epistemology of the Monster in Performance
Chapter 1. Gender and Performing a Spider Spirit in Jingju (Beijing Opera) Pansidong (Cave of the Silken Web) by Siyuan Liu
Chapter 2. Yakshi - A Bizarre Double from South Asia by Seethal CP and Anudev Manoharan
Chapter 3. The Resignification of La Llorona in Mexican and Chicano Culture by Veronica Quezada
Chapter 4. Spectral Monster/Haunting Presence: Decolonial Re-imaginings of Sycorax by Gabriela Trigo-McIntyre
Chapter 5. Cuentos de la Tumbona: A Teatro-cabaret Tale of Trans Monstrosity and Resistance by Christina Baker
Chapter 6. When is the Time of No More Deaths? Forced Migration, Untimely Ghosts, and the Sounds of Haunting Performance by Kristen Kolenz
Chapter 7. Blood, Sweat, and Fears: The Values of Work and Community in the Haunting Profession by Elizabeth Kurtzman
Chapter 8. The Ghost at the Top of the Stairs: Apparitions of Trauma and White Supremacy in Branden Jacobs-Jenkins’ Appropriate by Heather Kelley
Chapter 9. More than Monsters: Black Horror and the Whole Humanity of Her (1925) and Nope (2022) by Shadow Zimmerman
Chapter 10. A Tale of Golem Democracy by Victoria Scrimer
Chapter 11. ‘Something Coming to Eat the Whole World’: The monstrous nostalgia of Little Shop of Horrors by Stephen Cedars
Chapter 12. The Ghosts of War: Trauma and the Supernatural by Amanda Dawson
Chapter 13. ‘In the puppet or in the god’: Annie Baker’s John, Numinous Dread,
and Unknowable Others by Scott Proudfit
Chapter 14. Snap Chat Filters, Dissonant Cockatoos, and Total Blackouts: Conjuring Monsters in Australian Gothic Theatre by Miles O’Neil
Chapter 15. The Wicked Witch of the Web: Technology and Monstrosity in The Builders Association’s Elements of Oz by Alexander Miller
Index
Biography
Michael M. Chemers is Professor and Chair of the Department of Performance, Play & Design at the University of California Santa Cruz, USA. He is the author of more than 70 peer-reviewed pieces (including seven books) on theatre history, theory, adaptation, and dramaturgy. Most relevant to this project, he is the author of Staging Stigma: A Critical Examination of the American Freak Show (Palgrave MacMillan, 2008) and The Monster in Theatre History: This Thing of Darkness (Routledge, 2017), served as editor for a double issue of Disability Studies Quarterly on freak shows, and edited Alexander Iliev’s Towards a Theory of Mime (Routledge, 2014) and Luis Valdez’s Theatre of the Sphere: The Vibrant Being (Routledge, 2021).
Analola Santana is Associate Professor in the Department of Theater at Dartmouth College, USA. She is the author of Teatro y Cultura de Masas: Encuentros y Debates (2010) and Freak Performances: Dissidence in Latin American Theatre (2018), the latter of which considers the significance of theatrical practices that use the "freak" as a medium to explore the continuing effects of colonialism on Latin American identity. She is also the co-editor of Theatre and Cartographies of Power: Repositioning the Latina/o Americas (2018) and Fifty Key Figures in Latinx and Latin American Theatre (Routledge, 2022). She works as a professional dramaturg and is a company member of Mexico’s famed Teatro de Ciertos Habitantes.
