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Dead Children, Resilience, and Diversity

Dead Children, Resilience, and Diversity ART & PERFORMANCE NOTES Scene from Fraternity: A Fantastic Tale, directed by Caroline Guiela Nguyen. Photo: Christophe Raynaud de Lage. Courtesy Avignon Festival. Dead Children, Resilience, and Diversity Judith G. Miller Avignon Festival, Avignon, France, July 5–25, 2021. he seventy-fifth Avignon Festival, exceptional in terms of its overall qual- ity and pensive, rather than ebullient, mood, and in its penultimate year Tunder the direction of playwright and director Olivier Py, proposed “Re- member the Future” as its underlying theme. To this seemingly paradoxical di- rective, the works presented in the official, or “in” festival (sixty in all) neverthe- less spoke with almost a single voice: the “remembered” future will be marked by insecurity, pain, and destabilization. Most of the significant productions “re-membered,” then, the ongoing confusion and malaise of lives under Covid, in addition to gesturing to the multiple horrors characterizing the twentieth and twenty-first centuries. These productions projected the coming emotional trajec- tory as a journey through darkness—a repetition, if not an intensification, of a cataclysmic past. This is not to say that the festival featured plays about Covid, epidemics, or viruses. In fact, there were almost none of those, including among the 1,070 productions in the fringe, http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png PAJ: A Journal of Performance and Art MIT Press

Dead Children, Resilience, and Diversity

Miller, Judith G.
PAJ: A Journal of Performance and Art , Volume 44 (2): 7 – May 1, 2022
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Publisher
MIT Press
Copyright
© 2022 Judith G. Miller
ISSN
1520-281X
eISSN
1537-9477
DOI
10.1162/pajj_a_00612
Publisher site
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Abstract

ART & PERFORMANCE NOTES Scene from Fraternity: A Fantastic Tale, directed by Caroline Guiela Nguyen. Photo: Christophe Raynaud de Lage. Courtesy Avignon Festival. Dead Children, Resilience, and Diversity Judith G. Miller Avignon Festival, Avignon, France, July 5–25, 2021. he seventy-fifth Avignon Festival, exceptional in terms of its overall qual- ity and pensive, rather than ebullient, mood, and in its penultimate year Tunder the direction of playwright and director Olivier Py, proposed “Re- member the Future” as its underlying theme. To this seemingly paradoxical di- rective, the works presented in the official, or “in” festival (sixty in all) neverthe- less spoke with almost a single voice: the “remembered” future will be marked by insecurity, pain, and destabilization. Most of the significant productions “re-membered,” then, the ongoing confusion and malaise of lives under Covid, in addition to gesturing to the multiple horrors characterizing the twentieth and twenty-first centuries. These productions projected the coming emotional trajec- tory as a journey through darkness—a repetition, if not an intensification, of a cataclysmic past. This is not to say that the festival featured plays about Covid, epidemics, or viruses. In fact, there were almost none of those, including among the 1,070 productions in the fringe,

Journal

PAJ: A Journal of Performance and Art – MIT Press

Published: May 1, 2022

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