Theatre - Book chapters

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Now showing 1 - 5 of 9
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    Listening to the Undertow.
    (Soul Rocks, 2013-02) Gilson, Jools
    A short poetic piece about making a creative life in the ordinary of everyday.
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    Somaticatica: Embodied Adventures in and out of the Irish Countryside
    (Triarchy Press, 2015-05) Cronin, Bernadette; Gilson, Jools; O'Gorman, Róisín
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    Get your feminism off my floppy: seedy roms and technical tales
    (Routledge, 1998-07-31) Gilson, Jools
    This chapter is located at the collision of femininities, technologies and performance, and in the CD-ROM format in particular. It begins by asking what it means to be located as Other to an insurgent technology, and develops this analysis in relation to the association of femininity as un-bound flow. It goes on to call for the marking of technology with the feminine. The latter part of the chapter analyses specific examples of performative practice on CD-ROM. These are Gilson-Ellis / Povall's 'mouthplace', Adriene Jenik's 'Mauve Desert' and Laurie Anderson's 'Puppet Motel.'
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    Loa & behold: voice ghosts in the new technoculture
    (Taylor and Francis, 2001) Gilson, Jools
    This article suggests that the use of femininity and voice in digital art practice has a powerful potential to conjure provocative spaces in the new technoculture. Using a range of theoretical writers including Margaret Morse, Nell Tenhaaf, Simon Penny, Brenda Laurel and Sue-Ellen Case, the article traces contemporary thought on femininity, technology and voice. Gilson-Ellis uses her own choreographic / poetic practice as examples in these discussions. Through an adaptation of Sue-Ellen Case's proposal of the voudou vever and the loa, the article suggests that the voice in relation to writing and new technologies has a radical potential to open up alternative kinds of spaces in digital art practice.
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    Mouth ghosts: the taste of the os-text
    (Intellect Books, 2003) Gilson, Jools
    This chapter proposes a radical connection between femininity and orality. In particular it proposes the new term 'os-text' to describe the relationship between writing and speaking one's own text in performance. The 'os-text' incorporates the uttering mouths (the 'os'), the kissing (osculation) of words into being, and the oscillation between writing and speaking. Examining the work of half/angel as example, the chapter develops the idea of the 'os-text' in relation to the feminist theory of Helene Cixous and Luce Irigaray.