in Play, 135.
85. Louise Woodstock, “It’s Kind of Like an Assault You Know,” Critical Studies in Media Communication 33, no. 5, 399–408, see esp. 406.
86. Carol Martin, Theatre of the Real (Houndmills, UK: Palgrave, 2013).
87. Anne Cubilié and Carl Good, “The Future of Testimony,” Discourse 25, no. 1/2 (2003): 4–18, see esp. 7.
88. Patrick Duggan, Trauma-Tragedy: Symptoms of Contemporary Performance (Manchester, UK: Manchester University Press, 2012), 1.
89. See Judith Butler, Gender Trouble (London: Routledge Classics, 2006), 2–4.
90. Freddi Rokem, Performing History (Iowa City: University of Iowa Press, 2007), 19, 204.
91. Rokem, Performing History, 205.
92. Favorini, Memory in Play, 7.
93. Interview with Teya Sepinuck by Playhouse as part of the Playhouse Theatre of Witness program, Derry. July 10, 2013. https://www.youtube.com/watch?v=hJNWzN5mdTE.
94. Allen Feldman, “Memory Theaters, Virtual Witnessing and the Trauma Aesthetic,” Biography 27, no. 1 (2004): 163–202, see esp. 164.
95. Marianne Hirsch, “Connective Histories in Vulnerable Times,” PMLA 129, no. 3 (2014): 330–48, see esp. 334.
96. Peters, “Witnessing,” 39.
97. Feldman, “Memory Theaters,” 166.
98. Jasbir Puar interprets Foucault’s idea of “speaker’s benefit” to discuss this kind of cultural capital. See Jasbir Puar, “Celebrating Refusal: The Complexities of Saying No,” Bully Bloggers, June 23, 2010, https://bullybloggers.wordpress.com/2010/06/23/celebrating-refusal-the-complexities-of-saying-no/. I am grateful to Anne Mulhall for this reference.
99. Allen, “The Poverty of Memory,” 373.
100. Dolan, Utopia in Performance, 2.
101. Rosalind Gill and Andy Pratt, “In the Social Factory: Immaterial Labor, Precariousness and Cultural Work,” Theory, Culture & Society 25 no. 7–8 (2008): 1–30.
102. Teya Sepinuck, Theatre of Witness (London: Jessica Kingsley, 2013), 157.
103. Michal Givoni, Care of the Witness (Cambridge: Cambridge University Press, 2016), 44.
104. Carol Martin, “Living Simulations,” 78.
105. Carole-Anne Upton, “Northern Ireland: The Case of Bloody Sunday,” in Get Real, ed. Alison Forsyth and Chris Megson (Basingstoke, UK: Palgrave Macmillan, 2009): 179–94.
106. Fitzpatrick, “Gender and Affect in Testimonial Performance,” 132.
107. Gill and Pratt, “In the Social Factory,” 15–16.
108. See Rokem, Performing History, 204, 192. “Complete absorption” is why advertisers in particular engage empathy in their “drama-based” ads. See Jennifer Edson Escalas and Barbara B. Stern, “Sympathy and Empathy: Emotional Responses,” Journal of Consumer Research 29 (2003): 566–78, see esp. 573.
109. Conversation between author and Paula McFettridge, artistic director of Kabosh Theatre Company, Dublin, April 2018.
110. Rothberg, Multidirectional Memory, 87.
111. Didier Fassin and Richard Rechtman, The Empire of Trauma (Princeton, NJ: Princeton University Press, 2009).
112. Peters, “Witnessing,” 31.
113. Lauren Berlant, ed., “Compassion (and Withholding),” in Compassion (London: Routledge, 2004), 4.
114. Berlant, “Compassion (and Withholding),” 6.
115. Rosanne Kennedy, “An Australian Archive of Feelings,” 259.
116. See Jasbir Puar, “Celebrating Refusal,” https://bullybloggers.wordpress.com/2010/06/23/celebrating-refusal-the-complexities-of-saying-no/. On the risks of trauma and appropriation, see also Dominic LaCapra, Writing History, Writing Trauma (Baltimore: Johns Hopkins University Press, 2001).
117. Berlant, “Compassion (and Withholding),” 9.
118. Givoni, Care of the Witness, 4.
119. Upton, “Northern Ireland,” 192.
120. See the discussion of market segmentation (the creation of new niche markets targeting particular consumer groups) in Art Weinstein, Market Segmentation (London: McGraw Hill, 1994).
121. Arvidsson, “Brand Management,” 78.
122. Dolan, Utopia in Performance, 10. See also Landsberg, Prosthetic Memory, for belief that cultural memory has the ability to shape subjectivity and politics (p. 2); and that memory can consolidate important group identities (p. 4).
123. Throughout this book when I refer to “utopian” possibilities, I am following the example of Jill Dolan in Utopia in Performance.
124. Clarisse Loughrey, “Read Hamilton Cast’s Surprise Statement to Vice President-Elect Mike Pence,” Independent, November 21, 2016, https://www.independent.co.uk/arts-entertainment/theatre-dance/news/hamilton-mike-pence-booed-statement-in-full-watch-new-york-vice-president-elect-a7429251.html.
125. Winter, “Thinking about Silence,” 11.
126. Deirdre Heddon, Autobiography and Performance (Basingstoke, UK: Palgrave Macmillan, 2008), 3; see also pp. 20–25 for an overview of feminist and queer consciousness-raising performances.
Witnessing Docu-verbatim Memory
SOCIAL AND MNEMONIC CAPITAL ARE intimately linked. This chapter considers this statement in relation to the emergence of previously unspeakable memories into the marketplace as the social capital of marginalized groups begins to shift. These shifts are inextricably linked to cultural representation, and this chapter analyzes how theatrical gatekeepers use their influence within the cultural marketplace to raise both the memory and social
