Lakeviews

A Bus Tour As a Vehicle for Regrowth in New Orleans

Datos Bibliográficos

ID14998564
AutoresWilliam Bowling (0000-0002-9032-6383, William Bowling received his MA in Performance Studies from Tisch School of the Arts/NYU in 2007. He currently lives, works, and writes in New York City.), William M Bowling (New York Times), Rachel Carrico (Rachel Carrico is a writer, performer, and teacher in New York City. She holds an MA in Performance Studies from Tisch School of the Arts/NYU, as well as an MA in Secondary Education from Truman State University in Kirksville, Missouri.)
Año2008
Volumen52
Número1
Páginas190-196
Fecha de publicación2008-03-01
Open AccessNo
TipoARTICLE
RevistaTDR/The Drama Review (JOURNAL)
Identificadores de la revistaISSN: 1054-2043 • E-ISSN: 1531-4715
EditorialMIT Press - Journals (PUBLISHER)
DOI10.1162/dram.2008.52.1.190
OpenAlexW2065543153
IdiomaEN
Citas recibidas1
Referencias citadas3

This issue's Critical Acts focuses on “war and other bad shit” in terms of censorship, immigration, and art as a form of political protest and recovery. In “Habeas Corpus,” Ann Pellegrini uses Sally Field's censored Emmy-acceptance speech to exemplify the Bush administration's privatization of mourning as a means “to bind us to acts of fatal violence against an objectified and dehumanized ‘enemy.’” In her account of Luigi Nono's The Forest Is Young and Full of Life, Judy Lochhead examines the possibility of music as activism, noting how history is recycled from the Vietnam War to today. William Bowling and Rachel Carrico describe how art heals in Lakeviews, part of a post-Katrina project. Guillermo Gómez-Peña rages against “border hysteria,” when the “War on Terror” becomes a “war on difference.”

Art · Art history · Censorship · Dehumanization · Immigration · Media studies · Performance art · Political science · Politics · Shit · Sociology · Spanish Civil War · Terrorism · History · Latin American and Latino Studies · Law · Music History and Culture

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