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Queer exceptionsSolo performance in neoliberal times$
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Stephen Greer

Print publication date: 2019

Print ISBN-13: 9781526113696

Published to Manchester Scholarship Online: May 2019

DOI: 10.7228/manchester/9781526113696.001.0001

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PRINTED FROM MANCHESTER SCHOLARSHIP ONLINE (www.manchester.universitypressscholarship.com). (c) Copyright Manchester University Press, 2019. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in MSO for personal use.date: 24 August 2019

The killjoy: public unhappiness and theatrical scapegoats

The killjoy: public unhappiness and theatrical scapegoats

Chapter:
(p.106) 4 The killjoy: public unhappiness and theatrical scapegoats
Source:
Queer exceptions
Author(s):

Stephen Greer

Publisher:
Manchester University Press
DOI:10.7228/manchester/9781526113696.003.0004

Framed by an examination of neoliberalism’s emphasis on individual agency – and claims that feminism is no longer needed or relevant – this chapter animates the figure of the killjoy to explore solo works in which public displays of unhappiness, dysphoria and ingratitude force a re-examination of the relationship between gender, individual responsibility, and the social. If the killjoy is imagined to spoil everyone else’s good time, it is only because they draw attention to the bad faith social contracts – exemplified and exaggerated by the politics of austerity – which oblige some but not all to practice self-sacrifice in the name of a greater social good. Featured practitioners: Bridget Christie, Ursula Martinez, Adrienne Truscott, La Ribot, Cristian Ceresoli and Silvia Gallerano, Gary Owen.

Keywords:   Post-feminism, Killjoys, Bad faith, scapegoat, austerity, Italy, Wales

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