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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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The killjoy: public unhappiness and theatrical scapegoats

The killjoy: public unhappiness and theatrical scapegoats

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

Stephen Greer

Manchester University Press

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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