By Brian Singleton
This booklet units out recommendations of research of the award-winning tetralogy of performances (2010-14) by means of ANU Productions often called ‘The Monto Cycle’. Set inside 1 / 4 sq. mile of Dublin’s north internal urban, colloquially often called The Monto, those performances featured social matters that experience blighted the realm during the last a hundred years, together with prostitution, trafficking, asylum-seeking, heroin habit, and the scandal of the Magdalene laundries. whereas putting the 4 productions of their social, ancient, cultural and fiscal contexts, the e-book examines those performances that operated on the intersection of functionality, deploy, visible paintings, choreography, site-responsive and neighborhood arts. In doing so, it explores their matters with time, position, background, reminiscence, the town, ‘affect’, and the self as agent of action.
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Additional resources for ANU Productions: The Monto Cycle
The performance did not end for me (in terms of memories and feelings). It very much continued but I was ejected from it at the moment when I became most implicated in the performed world. ’19 And as I left the area with the shapes of sensations that evoked the illicit trades of The Monto over generations, I carried with me on my hands the smell of methylated spirit as a conduit to remember the feelings I experienced that contributed to the gestures to memory and history of a community now very much present in my mind.
Then I was ushered into a room in which several women were bringing buckets of milky-white water in and out. I was given a bucket of water to carry in. This I did and I discovered I was now in a bathroom. There was a ceramic bath in the middle of the ﬂoor. At one end of the room was a woman, who looked like a guard sitting on a high chair watching me and at the other, another woman (played by Sorcha Kenny) who began to take off her only clothing that was a bandage around her breasts (as I learned later from the director, many of the women incarcerated in the laundries suffered from mastitis).
Who was this woman? I did not know. She did not have a name. She did not even speak. But in my mind I attached possible names to her: she was Alison Brady, Bridget Brady, Cecilia Anne Brady, Mary Brady. As I held a bucket of milky white water, I, too became part of the community of the incarcerated. I was in a performative situation, or ‘transferential space’11 in which I was awakened into ‘anamnestic solidarity’ with this and all subsequent women I was to encounter, affording me the possibility of political engagement.
ANU Productions: The Monto Cycle by Brian Singleton