By Brian Singleton
This booklet units out options of study of the award-winning tetralogy of performances (2010-14) by means of ANU Productions often called ‘The Monto Cycle’. Set inside of 1 / 4 sq. mile of Dublin’s north internal urban, colloquially often called The Monto, those performances featured social matters that experience blighted the world 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, historic, cultural and monetary contexts, the ebook examines those performances that operated on the intersection of functionality, install, visible artwork, choreography, site-responsive and neighborhood arts. In doing so, it explores their issues 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
During the 50-minute performance there were multiple times when I was overwhelmed by the affecting nature of the experience. Affect, according to Erin Hurley, is an ‘autonomic reaction to an environmental change’9 and thus is a subjective experience. Subjecting the spectator to the performance, by embedding her/him within it, disoriented the spectator’s subjectivity, and sense of self. And yet at the same time it heightened it, just like with affect, to the point where each person had to decide whether to engage, on what level, either by playing other or by playing the self and thus running the danger of not participating.
Dublin: The History Press Ireland, 2015. eBook, no page numbers. (Curtis 2015) 3. Thomas Dudley in the 1950s and 1960s became a celebrated and eccentric street character called Bang Bang because of his obsession with Westerns; he would travel around Dublin with a large key pretending to shoot people on the streets and buses. Many Dubliners played along. 4. Jesse Weaver, ‘Geography and Community: ANU Productions’ Four-Part Monto Cycle’, Irish Theatre Magazine, 21 September 2011. http://www. ) (Weaver 2011) 34 ANU PRODUCTIONS 5.
The survivors of the laundries remain trapped in the eternal present of the morality and shame of the past. And so, the political power of ANU Productions’ performative acts in their productions stand as a direct challenge to the nation’s desire to remember the past through an act of forgetting, through the creation of these environments of memory, shaking us out of what sociologist Maurice Halbwachs might have described as a state of ‘aphasia’,4 and resituating memory in a wakened state of consciousness.