LITMIR.BIZ

       EMILIE PINE

      INDIANA UNIVERSITY PRESS

      This book is a publication of

      Indiana University Press

      Office of Scholarly Publishing

      Herman B Wells Library 350

      1320 East 10th Street

      Bloomington, Indiana 47405 USA

       iupress.indiana.edu

      © 2020 Emilie Pine

      All rights reserved

      No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system, without permission in writing from the publisher. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI Z39.48-1992.

      Manufactured in the United States of America

      Cataloging information is available from the Library of Congress.

      ISBN 978-0-253-04950-6 (hardcover)

      ISBN 978-0-253-04952-0 (paperback)

      ISBN 978-0-253-04951-3 (web PDF)

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      For Vanessa and Alex, and in memory of Elena

      CONTENTS

Acknowledgments

Introduction: The Market for Pain

1.Tell Them That You Saw Us: Witnessing Docu-verbatim Memory

       2.The Witness as Commodity: Autoperforming Memory

       3.The Commissioned Witness, Theatre, and Truth

       4.The Immaterial Labor of Listening: Presence, Absence, Failure, and the Commodification of the Witness

       5.Consumers or Witnesses? Site-Specific Performance

       Conclusion: Activism in the Marketplace

       Index

       ACKNOWLEDGMENTS

      RESEARCHING AND WRITING CAN FEEL like solitary, and sometimes lonely, pursuits. I have been very fortunate that I have never felt alone in the task of making this book. I am thankful daily for the support of colleagues and students at the School of English, Drama, and Film at University College Dublin. Particular thanks go to my mentor Margaret Kelleher; my Irish University Review colleagues, John Brannigan and Lucy Collins; and to my colleagues in the school and across UCD: Ursula Byrne, Danielle Clarke, Nick Daly, Fionnuala Dillane, Kate Fama, Deirdre Flynn, Jane Grogan, Paul Halferty, Karen Jackman, Susan Leavy, Críostóir MacCárthaigh, Emily Mark-Fitzgerald, Naomi McAreavey, Mary McAuliffe, Gerardine Meaney, Niamh Pattwell, Paul Perry, Anthony Roche, Pauline Slattery, Maria Stuart, and Justin Synnott, friends and wise counselors every one. Thanks also to the support of Jennika Baines at Indiana University Press, to Guy Beiner for suggesting I send this work to them, and to the book’s two readers, whose constructive feedback was an act of great intellectual and feminist generosity.

      This book emerges out of the field of Irish theatre studies, and I would like to thank colleagues in IASIL, ACIS, ISTR, and WHA for their feedback on work in progress and for sharing their emergent work, in particular Guy Beiner, David Clare, Linda Connolly, Marguerite Corporaal, Mike Cronin, Eric Falci, Lisa Fitzpatrick, Miriam Haughton, Eamonn Jordan, Joseph Lennon, Patrick Lonergan, Claire Lynch, Ciara Murphy, Eve Patten, Alison Ribeiro de Menezes, Melissa Sihra, Brian Singleton, and Ian Walsh. For their inspiration and friendship, heartfelt thanks to Charlotte McIvor and Paige Reynolds. Recent years have allowed me to join the burgeoning field of memory studies, both in Ireland and internationally, and I am grateful to my partners in the Irish Memory Studies Network, Oona Frawley and Fionnuala Dillane, and to all the speakers at our lecture series since 2012. At the COST Network “In Search of Transnational Memory in Europe” and at the Memory Studies Association I would like to thank Tea Sindbæk Anderson, Silke Arnold-de Simine, Stef Craps, Astrid Erll, Paco Ferrandiz, Gunnþórunn Guðmundsdóttir, Marianne Hirsch, Sara Jones, Anna Reading, Ann Rigney, and Vered Vinitzky-Seroussi. Conferences and seminars represent the opportunity to share our work, and in that they are very valuable; but they are most precious for the friendships they foster.

      Theatre is a collaborative enterprise, and I am grateful to the Dublin Theatre Festival and Dublin Fringe Festival for making international work available to me as an audience member and for all the support in contacting playwrights. Many thanks to the theatre makers who have shared their work with me, particularly unpublished and work in progress: La Conquesta del Pol Sud, Kabosh Theatre, the Nirbhaya Ensemble, Tiago Rodriguez, and Theater of Witness. Thanks also to the Waking the Feminists movement for waking up so many of us.

      I have been extremely lucky in my friends, my chosen family, and I would like to thank them for their ongoing support: Emma Bradford, Sam Bufter, John Butler, Anna Carey, Kerri Chyka, Brian Cliff, Patrick Freyne, Sharon Jackson, David Long, Barry MacEvilly, Tara MacLoughlin, Alex Marrable, Jenny McDonnell, Brendan O’Connell, Niall O’Neill, Alan O’Riordan, Niamh O’Shea, Éadaoin Patton, Diana Pérez Garcia, Marni Rothman, Richard Rowland, Christine Ryan, Jim Shanahan, Anne Solari, and Pádraic Whyte.

      My parents, Melanie Pine and Richard Pine, have been the wellspring of so many of the ideas and approaches in this book because of their mutual interest in the world and all the ways they inspire me to engage with a life full of art, music, literature, and theatre. I have been very fortunate, too, in being welcomed into a second family since 2001, and my sincere thanks and love to Peter and Sarah Kelly, Garvan Kelly, and Alessandro Loche. I will never be done being thankful to Ronan Kelly for his love, his unstinting support, humor, and kindness, and his example.

      Finally, this book is dedicated to my sister, Vanessa Pine, and her two beautiful children, Elena Jane and Alexander. Thank you, Vanessa, for sharing your wonderful children with me, and for allowing me to watch over them with you; it is the great joy and privilege of my life.

      THE MEMORY

      MARKETPLACE