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Invisible Publics: Closet Dramas for the Contemporary Stage

Invisible Publics: Closet Dramas for the Contemporary Stage InvIsIble PublIcs closet Dramas for the contemporary stage Miriam Felton-Dansky The Myopia, written and performed by David Greenspan, presented by the Foundry Theatre, New York, January 6–February 7, 2010. Crime or Emergency, written and performed by Sibyl Kempson and Mike Iveson, Jr., P.S. 122, New York, December 4–20, 2009. n a recent New York Review of Books essay titled “The Tea Party Jacobins,” Mark Lilla charts the development of a new pattern of “radical individualism” in American politics—loosely affiliated groups that, like the right-wing Tea Party movement, rebel not only against specific leaders or parties, but also against government and leadership as a whole. This new populism, he writes, “fires up emotions by appealing to individual opinion, individual autonomy, and individual choice . . . It gives voice to those who feel they are being bullied, but this voice has only one, Garbo-like thing to say: I want to be left alone.”1 Lilla reveals an atomized America, where millions of solitary citizens enact private dramas in the comforts of home, untroubled by public opinion or collective needs. In the winter of 2010, two New York theatre productions echoed this eerie phenomenon, staging solo shows with national and historical http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png PAJ: A Journal of Performance and Art MIT Press

Invisible Publics: Closet Dramas for the Contemporary Stage

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References (3)

Publisher
MIT Press
Copyright
© 2010 Miriam Felton-Dansky
ISSN
1520-281X
eISSN
1537-9477
DOI
10.1162/PAJJ_a_00024
Publisher site
See Article on Publisher Site

Abstract

InvIsIble PublIcs closet Dramas for the contemporary stage Miriam Felton-Dansky The Myopia, written and performed by David Greenspan, presented by the Foundry Theatre, New York, January 6–February 7, 2010. Crime or Emergency, written and performed by Sibyl Kempson and Mike Iveson, Jr., P.S. 122, New York, December 4–20, 2009. n a recent New York Review of Books essay titled “The Tea Party Jacobins,” Mark Lilla charts the development of a new pattern of “radical individualism” in American politics—loosely affiliated groups that, like the right-wing Tea Party movement, rebel not only against specific leaders or parties, but also against government and leadership as a whole. This new populism, he writes, “fires up emotions by appealing to individual opinion, individual autonomy, and individual choice . . . It gives voice to those who feel they are being bullied, but this voice has only one, Garbo-like thing to say: I want to be left alone.”1 Lilla reveals an atomized America, where millions of solitary citizens enact private dramas in the comforts of home, untroubled by public opinion or collective needs. In the winter of 2010, two New York theatre productions echoed this eerie phenomenon, staging solo shows with national and historical

Journal

PAJ: A Journal of Performance and ArtMIT Press

Published: Jan 1, 2011

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