This book explores the ways that council estates have been represented in England across a range of performance forms. Drawing on examples from mainstream, site-specific and resident-led performance works, it considers the political potential of contemporary performance practices concerned with the council estate. Depictions of the council estate are brought into dialogue with global representations of what Chris Richardson and Hans Skott-Myhre call the 'hood', to tease out the specific features of the British context and situate the work globally.
Katie Beswick's study provides a timely contribution to the ongoing national and global interest in social housing. As the housing market grows ever more insecure, and estates are charged with political rhetoric, theatre and socially engaged art set or taking place on estates takes on a new potency. Mainstream theatre works examined include Rita, Sue and Bob Too and A State Affair at the Soho Theatre, Port at the National Theatre, and DenMarked at the Battersea Arts Centre. The book also explores the National Youth Theatre's Slick and Roger Hiorns' Seizure, as well as community-based and resident led performances by Fourthland, Jordan McKenzie, Fugitive Images and Jane English.
Recenzijos
Katie Beswicks book addresses the crisis in UK council housing boldly, but also with great care and sensitivity. Social Housing in Performance critiques the ways in which council estates are presented to us in the establishment media, and puts forward instead a compelling new typology for understanding housing issues through performance practice. -- Jane Rendell, The Bartlett School of Architecture, University College London After decades in which social housing in England has been neglected, Beswicks deeply considered analysis of estate performance is very welcome. She examines not only how individual performances have figured working class life but also how these performances are caught up with broader perceptions of social housing and with British theatres own highly fraught class politics. This is a timely and important book. -- Michael McKinnie, Queen Mary University of London
Daugiau informacijos
Offering a comprehensive critical overview of performance practices set or taking place on council estates, this book explores the resistant potential of council estate performance, which has proliferated since the turn of the 21st century.
| Acknowledgements |
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ix | |
| Three places: A preface |
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xi | |
| Introduction: The council estate, definitions and parameters |
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1 | (26) |
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The council estate and the crisis of social housing |
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5 | (13) |
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Council estate performance: A taxonomy |
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18 | (2) |
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Why spatiality? Methodology and theoretical frameworks |
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20 | (7) |
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1 Quotidian performance of the council estate |
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27 | (44) |
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Karen Matthews: Deviant motherhood on the white working-class estate |
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39 | (10) |
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Cheryl Cole: Working-class pride, escape from the estate and middle-class identity making |
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49 | (9) |
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Mark Duggan: Race, black masculinity and resistance on the council estate as hood |
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58 | (11) |
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The role of artistic performance practice? |
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69 | (2) |
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2 Class and the council estate in mainstream theatre |
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71 | (44) |
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Rita, Sue and Bob Too/A State Affair. Andrea Dunbar and the `authentic voice' |
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81 | (12) |
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Port. Working-class exceptionality and the estate as ruin |
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93 | (10) |
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DenMarked: Beyond realism - hip-hop, the hood and council estate rage |
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103 | (9) |
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Dominant, residual emergent |
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112 | (3) |
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115 | (38) |
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SLICK: Art and redevelopment, making sense of unresolved tensions |
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124 | (9) |
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Seizure: The generic estate, empty buildings and timeless beauty |
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133 | (9) |
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"The Wedding to the Bread': Tricky politics, resident engagement and inauthentic ritual |
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142 | (8) |
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150 | (3) |
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153 | (30) |
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Jordan McKenzie's Monsieur Poo-Pourri films: Subversive humour, art theory and the politics of the everyday |
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160 | (8) |
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Fugitive Images' Estate: A Reverie: Home unmaking, gentrification and yearning on an east London council estate |
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168 | (6) |
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Jane English's 20b: Demolished estates, domicide and revenge nostalgia |
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174 | (6) |
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Institutions, the Arts Council and the impossibility of `grass-roots' |
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180 | (3) |
| Conclusion: Three thoughts |
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183 | (6) |
| Notes |
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189 | (6) |
| References |
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195 | (22) |
| Index |
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217 | |
Katie Beswick is a lecturer in Drama at the University of Exeter, UK. Her research focuses on the intersections between theatre and structural inequality, with an emphasis on race and class. She has worked as a performer, writer, facilitator of applied theatre and as a social housing officer.
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