Dicking Around with Radiohole
Toward Hyperreal Performance and Criticism
Bibliographic Data
| ID | 14997886 |
|---|---|
| Authors | Steve Luber (Steve Luber is a doctoral candidate in theatre at the Graduate Center, City University of New York, Production Manager for PAJ: A Journal of Performance and Art, and coauthor of ObsceneJester. net: The Performance Art Blog., corresponding author) |
| Year | 2007 |
| Volume | 51 |
| Issue | 4 |
| Pages | 156-162 |
| Publication date | 2007-12-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | TDR/The Drama Review (JOURNAL) |
| Journal identifiers | ISSN: 1054-2043 • E-ISSN: 1531-4715 |
| Publisher | MIT Press - Journals (PUBLISHER) |
| DOI | 10.1162/dram.2007.51.4.156 |
| OpenAlex | W1969786675 |
| Language | EN |
| References cited | 4 |
Reappropriating the iconography of “America” as portrayed in Melville's Moby-Dick, the New York-based Radiohole offers in Fluke what Steve Luber dubs a hyperreal performance. The hyperreal is also what happened to Sara Brady when she rode through Dublin with the international trio Rimini Protokoll as they reimagined the journey as a trek from Bulgaria to Ireland. The last Critical Act takes place in Tangier where Khalid Amine found Zoubeir Ben Bouchta's Lalla J'mila a negotiation of the terrains of law, gender, and “place-specific” theatre
Art · Art history · Criticism · Iconography · Literature · Negotiation · Political science · History · Irish and British Studies · Law · Shakespeare, Adaptation, and Literary Criticism · Theatre and Performance Studies
| Highly cited | No |
|---|