“Making the Time of Our Lives

Unfinished Experimentations in Performing the Ageing Identity"

Research output: Contribution to journalArticle

Abstract

I aim here at a short and open-ended history of Passages Theatre Group, beginning with an explanation of the process and theoretical underpinning of the first
1 Nine of Passages Theatre Group‟s 18 members performed at this showing of The Time of Our Lives at The University of Sheffield‟s Theatre Department on 3/12/12.
20
Track Changes Issue 4: Thinking Forward Through the Past
phase of their work. Then in the section „Identities‟, I detail the group‟s staging of identity through a dramatisation of first memories, and examine the implications of their investigations into the performance of the significant ageing subject. Following this, I propose a notion of „future value‟, problematising the ascription of negative future value to old age as a stigma borne by the older body, detrimental to the perception of the worthiness of older people. Finally, I explore the implications for the group‟s future representations of the ageing subject in performance. Bill McDonnell calls for a historiography of theatre that „might reflect more accurately a politics of process‟, which „could take in the making of texts, rehearsal, performance and post- performance, [...] supplemented with diaries or journal reflections‟. He suggests that participants should be included in the making of the record, to allow for a „richer perspective on the values of these collaborations‟.2 With this in mind, I include relevant reflections from Passages members and quotations from the academy alongside my own consideration of the work, presenting a variety of voices and opinions.3 Using these methods, I outline the ways in which the first performance enabled a „making visible‟ of the past and consequently produced insights about specific older identities, which would otherwise have remained obscure. In addition, I argue that the negative „future-value‟ inscribed on the older body can potentially be disrupted by staging identity through time.
Original languageEnglish
Pages (from-to)20-38
Number of pages19
JournalTrack Changes: The Post Graduate Journal of the Faculty of Arts And Humanities
VolumeWinter 2012
Issue number4
Publication statusPublished - 1 Dec 2012
Externally publishedYes

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theater
staging
performance
Values
Group
old age
historiography
group membership
academy
quotation
time
politics
history

Cite this

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title = "“Making the Time of Our Lives: Unfinished Experimentations in Performing the Ageing Identity{"}",
abstract = "I aim here at a short and open-ended history of Passages Theatre Group, beginning with an explanation of the process and theoretical underpinning of the first1 Nine of Passages Theatre Group‟s 18 members performed at this showing of The Time of Our Lives at The University of Sheffield‟s Theatre Department on 3/12/12. 20Track Changes Issue 4: Thinking Forward Through the Pastphase of their work. Then in the section „Identities‟, I detail the group‟s staging of identity through a dramatisation of first memories, and examine the implications of their investigations into the performance of the significant ageing subject. Following this, I propose a notion of „future value‟, problematising the ascription of negative future value to old age as a stigma borne by the older body, detrimental to the perception of the worthiness of older people. Finally, I explore the implications for the group‟s future representations of the ageing subject in performance. Bill McDonnell calls for a historiography of theatre that „might reflect more accurately a politics of process‟, which „could take in the making of texts, rehearsal, performance and post- performance, [...] supplemented with diaries or journal reflections‟. He suggests that participants should be included in the making of the record, to allow for a „richer perspective on the values of these collaborations‟.2 With this in mind, I include relevant reflections from Passages members and quotations from the academy alongside my own consideration of the work, presenting a variety of voices and opinions.3 Using these methods, I outline the ways in which the first performance enabled a „making visible‟ of the past and consequently produced insights about specific older identities, which would otherwise have remained obscure. In addition, I argue that the negative „future-value‟ inscribed on the older body can potentially be disrupted by staging identity through time.",
keywords = "Ageing, Performance, Lifecourse, Elder Theatre",
author = "Bridie Moore",
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AB - I aim here at a short and open-ended history of Passages Theatre Group, beginning with an explanation of the process and theoretical underpinning of the first1 Nine of Passages Theatre Group‟s 18 members performed at this showing of The Time of Our Lives at The University of Sheffield‟s Theatre Department on 3/12/12. 20Track Changes Issue 4: Thinking Forward Through the Pastphase of their work. Then in the section „Identities‟, I detail the group‟s staging of identity through a dramatisation of first memories, and examine the implications of their investigations into the performance of the significant ageing subject. Following this, I propose a notion of „future value‟, problematising the ascription of negative future value to old age as a stigma borne by the older body, detrimental to the perception of the worthiness of older people. Finally, I explore the implications for the group‟s future representations of the ageing subject in performance. Bill McDonnell calls for a historiography of theatre that „might reflect more accurately a politics of process‟, which „could take in the making of texts, rehearsal, performance and post- performance, [...] supplemented with diaries or journal reflections‟. He suggests that participants should be included in the making of the record, to allow for a „richer perspective on the values of these collaborations‟.2 With this in mind, I include relevant reflections from Passages members and quotations from the academy alongside my own consideration of the work, presenting a variety of voices and opinions.3 Using these methods, I outline the ways in which the first performance enabled a „making visible‟ of the past and consequently produced insights about specific older identities, which would otherwise have remained obscure. In addition, I argue that the negative „future-value‟ inscribed on the older body can potentially be disrupted by staging identity through time.

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JO - Track Changes: The Post Graduate Journal of the Faculty of Arts And Humanities

JF - Track Changes: The Post Graduate Journal of the Faculty of Arts And Humanities

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