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Performing Animality Also by Jennifer Parker-Starbuck CYBORG THEATRE: Corporeal/Technological Intersections in Multimedia Performance

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Performing Animality Also by Jennifer Parker-Starbuck CYBORG THEATRE: Corporeal/Technological Intersections in Multimedia Performance Performing Animality Also by Jennifer Parker-Starbuck CYBORG THEATRE: Corporeal/Technological Intersections in Multimedia Performance Also by Lourdes Orozco THEATRE & ANIMALS Performing Animality Animals in Performance Practices Edited by Lourdes Orozco University of Leeds, UK and Jennifer Parker-Starbuck University of Roehampton, UK Introduction, selection and editorial matter © Lourdes Orozco & Jennifer Parker-Starbuck 2015 Individual chapters © Contributors 2015 Softcover reprint of the hardcover 1st edition 2015 978-1-137-37312-0 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6–10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The authors have asserted their rights to be identified as the authors of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2015 by PALGRAVE MACMILLAN Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS Palgrave Macmillan in the US is a division of St Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Palgrave is a global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN 978-1-349-47646-6 ISBN 978-1-137-37313-7 (eBook) DOI 10.1057/9781137373137 This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. Logging, pulping and manufacturing processes are expected to conform to the environmental regulations of the country of origin. A catalogue record for this book is available from the British Library. A catalog record for this book is available from the Library of Congress. Typeset by MPS Limited, Chennai, India. Contents List of Figures vii Notes on Contributors viii Acknowledgements xii Introduction 1 Lourdes Orozco and Jennifer Parker-Starbuck Part I Setting the Stage 1 From Homo Performans to Interspecies Collaboration: Expanding the Concept of Performance to Include Animals 19 Laura Cull Part II Bulls, Dogs, Pigs, Bears and Horses: Animals in Performance 2 The Art of Fierceness: The Performance of the Spanish Fighting Bull 39 Garry Marvin 3 ‘Genus Porcus Sophisticus’: The Learned Pig and the Theatrics of National Identity in Late Eighteenth-Century London 57 Monica Mattfeld 4 ‘A Very Good Act for an Unimportant Place’: Animals, Ambivalence and Abuse in Big-Time Vaudeville 77 Catherine Young 5 Acrobatic Circus Horses: Military Training to Natural Wildness 97 Peta Tait Part III ‘Performing’ Animals and ‘Theatres of Species’ 6 Massive Bodies in Mortal Performance: War Horse and the Staging of Anglo-American Equine Experience in Combat 117 Kim Marra 7 Embattled Animals in a Theatre of Species 135 Una Chaudhuri v vi Contents 8 Animal Pasts and Presents: Taxidermied Time Travellers 150 Jennifer Parker-Starbuck 9 Effacing the Human: Rachel Rosenthal, Rats and Shared Creative Agency 168 Carrie Rohman Part IV Looking at/Loving with animals 10 There and Not There: Looking at Animals in Contemporary Theatre 189 Lourdes Orozco 11 It’s Hard to Spot the Queerness in this Image 204 Holly Hughes Index 218 List of Figures Cover: Loungta. Les chevaux de vent by Zingaro 1.1 How to play clarinet along with a singing humpback whale. Diagram by David Rothenberg, 2008 27 1.2 Sami Sälpäkivi and Bobi Girl in the first ever horse theatre in Finland, Hiano Mailma 31 3.1 A caricature illustrating the performing animals on the London stage charging personifications of the arts and virtues 61 4.1 A 1903 newspaper clipping promises animal novelty and nearly all ‘top-line’ entertainment at a Keith vaudeville theatre in Rhode Island 80 6.1 Interior of Astley’s Amphitheatre 120 7.1 Bengal Tiger at the Baghdad Zoo 143 8.1 Taxidermied dog heads at the Horniman Museum, London 154 8.2 Franko B and Fox heads in Because of Love, Volume 1 164 9.1 Illustration from Tatti Wattles: A Love Story, by Rachel Rosenthal 180 10.1 Loungta. Les chevaux de vent by Zingaro. Photo by Antoine Poupel 198 10.2 Inferno by Socìetas Raffaello Sanzio 198 vii Notes on Contributors Una Chaudhuri is Collegiate Professor and Professor of English, Drama and Environmental Studies at New York University. Her publications include Staging Place: The Geography of Modern Drama, Rachel’s Brain and Other Storms: The Performance Scripts of Rachel Rosenthal, Land/Scape/ Theater (co-edited Elinor Fuchs), Animal Acts: Performing Species Today (co-edited with Holly Hughes), and The Ecocide Project: Research Theatre and Climate Change (co-authored with Shonni Enelow). Her current research explores ‘zooësis’, the discourse of species in contemporary culture and performance, and ‘Anthropo-Scenes’, theatrical responses to the practical and philosophical challenges of climate change. Laura Cull is Head of the Department of Theatre and Dance at the University of Surrey, UK. She is author of Theatres of Immanence: Deleuze and the Ethics of Performance (Palgrave, 2012), co-editor of Encounters in Performance Philosophy with Alice Lagaay (Palgrave, 2014), editor of Deleuze and Performance (2009) and co-editor with Will Daddario of Manifesto Now! Instructions for Performance, Philosophy, Politics (2013). Laura is a founding core convener of the professional association Performance Philosophy and a co-editor of the Performance Philosophy book series for Palgrave Macmillan. Holly Hughes is a writer and performer whose work has been presented internationally at diverse venues from the ICA and the Drill Hall in London to museums such as the Walker Art Center, the Guggenheim Museum, the New Museum (NYC) and the Hammer (Los Angeles), to theatres including Victory Gardens, New York Theater Workshop, and the Red Cat (LA) as well as countless alternative arts spaces. Her first col- lection, Clit Notes: A Sapphic Sampler (Grove Press), was nominated for a Lambda Book Award. Hughes is co-editor of three other collections: O Solo Homo: The New Queer Performance (Grove Press), co-edited by David Roman Grove Press, the recent Animal Acts: Performing Species Today (University of Michigan Press), co-edited with Una Chaudhuri, and the forthcoming Memories of the Revolution (University of Michigan Press), co-edited with Carmelita Tropicana. She has taught at Northwestern University, Harvard, New York University, University of Colorado, viii Notes on Contributors ix Duke and Kalamazoo College, before being hired at the University of Michigan, where she holds appointments in the Penny W. Stamps School of Art and Design, Women’s Studies and Theatre and Drama, and directs the BFA in Interarts Performance. She lives in a state of com- mitted polyamory, involving one human, several dogs and a forgiving feline. Kim Marra is Professor of Theatre Arts and American Studies at the University of Iowa. Her publications include Strange Duets: Impresarios and Actresses in the American Theatre, 1865–1914 (2006); the co-edited volumes Passing Performances: Queer Readings of Leading Players in American Theater History (1998) and its sequel Staging Desire (2002); ‘Riding, Scarring, Knowing: A Queerly Embodied Performance Historiography’, Theatre Journal (2012); and ‘Horseback Views: A Queer Hippological Performance’, in Animal Acts: Performing Species Today (2014). Garry Marvin is a social anthropologist and Professor of Human– Animal Studies at the University of Roehampton, London. He has conducted ethnographic research into, and published on, the Spanish bullfight; zoos; English foxhunting; the experiences of game hunters; hunting trophies and taxidermy; human–wildlife conflicts. Among his recent publications are Wolf (2012) and, co-edited with Susan McHugh, The Handbook of Human–Animal Studies (2014). Monica Mattfeld is an Instructor at the University of Northern British Columbia and is interested in human–animal relationships and their influence on performances of gender during the eighteenth and nine- teenth centuries in Britain. Her current research examines the role of animals in political satire, their inclusion in the eighteenth-century illegitimate theatre, and the early nineteenth-century craze for grand equestrian extravaganzas, or hippodramas. Lourdes Orozco is Lecturer in Theatre Studies at the Workshop Theatre, University of Leeds. Her research interests are in Contem- porary Theatre and Performance in Europe. Her most recent research focuses on the presence of animals and children in theatre and per- formance contexts. She is the author of Teatro y Politica. Barcelona 1980–2000 (2007) and she is the author of Theatre & Animals (Palgrave Macmillan, 2013). She has published articles on animals in contemporary theatre and is particularly interested in issues around x Notes on Contributors risk, performing animals’ behaviour, and rights and regulations of performing animals. Jennifer Parker-Starbuck is a Professor of Theatre and Performance Studies in the Department of Drama, Theatre and Performance at the University of Roehampton,
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