By Brian Singleton
This publication units out concepts of study of the award-winning tetralogy of performances (2010-14) via ANU Productions often called ‘The Monto Cycle’. Set inside 1 / 4 sq. mile of Dublin’s north internal urban, colloquially often called The Monto, those performances featured social matters that experience blighted the realm over the last a hundred years, together with prostitution, trafficking, asylum-seeking, heroin dependancy, and the scandal of the Magdalene laundries. whereas putting the 4 productions of their social, old, cultural and financial contexts, the ebook examines those performances that operated on the intersection of functionality, install, visible artwork, choreography, site-responsive and group arts. In doing so, it explores their matters with time, position, heritage, reminiscence, the town, ‘affect’, and the self as agent of action.
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Additional info for ANU Productions: The Monto Cycle
On returning to The LAB, Dee/Harriet asked me to look at one of the new apartments on the western side of James Joyce Street, and then immediately told me not to look. The follow/don’t follow, look/don’t look dialectic was unsettling but this time this was not a strategy to enable me to encounter the past by following her into it; this was a strategy to reorient me in the present as she whispered to me that the apartment in question was a brothel used as part of the online sex industry. I fully understood her own anxiety not to stare at the apartment as I got a clear sense from the cars and the people in the street that we might indeed be being watched.
15 2 WORLD’S END LANE 31 The gestures to history through performative encounters, all based on traces of real people and events were conduits primarily to the performance not of yourself as spectator in performance, but the performance inside you as spectator. The multi-sensory stimuli of the performative gestures moved the spectator away from being inside a drama, to being inside a production, and within that production was the spectator who contributed to those gestures and was left marked by them on a sensory and synaesthetic level.
Should I help this naked young woman as a mature man fully clothed? I did help her. It was the ﬁrst moment that I realized that I would help all the women I expected to encounter. Who was this woman? I did not know. She did not have a name. She did not even speak. But in my mind I attached possible names to her: she was Alison Brady, Bridget Brady, Cecilia Anne Brady, Mary Brady. As I held a bucket of milky white water, I, too became part of the community of the incarcerated. I was in a performative situation, or ‘transferential space’11 in which I was awakened into ‘anamnestic solidarity’ with this and all subsequent women I was to encounter, affording me the possibility of political engagement.