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Playing the Cancer Card: Illness, Performance and Spectatorship Lobel, Brian

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Playing the Cancer Card: Illness, Performance and Spectatorship Lobel, Brian Playing the cancer card: illness, performance and spectatorship Lobel, Brian The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without the prior written consent of the author For additional information about this publication click this link. http://qmro.qmul.ac.uk/jspui/handle/123456789/2970 Information about this research object was correct at the time of download; we occasionally make corrections to records, please therefore check the published record when citing. For more information contact [email protected] Playing the Cancer Card: Illness, Performance and Spectatorship Brian Lobel Thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy. 1 Abstract Playing the Cancer Card: Illness, Performance and Spectatorship investigates the experience of spectatorship in relation to illness, an area that has received comparatively little attention in Performance Studies. The thesis interrogates these concerns through original interviews, archival research, close textual readings of performances and performance documentation and draws on critical frameworks, primarily from performance, literary and cultural studies concerning spectatorship, illness, disability, documentation and narrative. The project analyses both my performances that exemplify being an object of spectatorship and my experiences as a spectator to the performance of illness. !Playing the Cancer Card argues that performance, through the experiences of spectatorship that it invites, works to broker the chasm between embodied experience of illness and discourses of that experience. The Introduction reviews academic literature and examines relationships between illness and models of disability. In Chapter 1, readings of work by Sontag, Spence and Baker demonstrate how individuals may strategically reject public production of, and spectatorship to, their work. Chapter 2 analyses interviews with Baker and Marcalo, demonstrating how performance can generate tensions between artists and advocacy groups when modes of spectatorship — regarding propriety and community politics — are policed. In Chapter 3, an analysis of cancer blogs elucidates how they may redress limitations imposed by traditional narrative structures around illness, forging new relationships between the ill and their spectators. Here I also consider my performances that respond to the pervasiveness of traditional narratives. Chapter 4 examines Fun with Cancer Patients, my practice-based research project, and argues that by addressing constructions of cancer, one may create work that productively 2 addresses spectators who both have and have not experienced cancer. In the Conclusion, I evaluate two of my projects that address illness tangentially, arguing that understanding ourselves as spectators and objects of spectatorship can expand discourses surrounding embodied experience, especially of illness. 3 Table of Contents Acknowledgements!!!!!!!! 7 Introduction ! Chicago, 21 April 2010!!!!!!! 10 !Playing the Cancer Card!!!!!!! 15 !Illness and Disability!!!!!!! 21 !Starers and Starees!!!!!!! 29 !Liminality, Documentation and Distance!! ! ! ! 38 !Brokering the Discourses!!!!!!! 46 !Structure of Thesis!!!!!!!! 52 Chapter 1: Playing More than the Cancer Card: Illness, Silence and Active inactions in the work of Jo Spence and Bobby Baker ! Jade Goody: Personifying an Age of Documentation!!! 58 !Susan Sontag: Theorising the Silence!!!!! 68 !Jo Spence: Embracing the Silence!!!!! 76 !Bobby Baker: Using the Silence!!!!!! 86 !Jade, Gia and Rachel!!!!!!! 99 Chapter 2: Perverts and Postergirls: Advocacy, Solo Performance and Propriety ! Bracelet and Ribbon Advocacy!!!!! ! 103 !i[2]y and the Angry Parents!!!!! ! 111 !Cancer and Policed Positivity!!!!! ! 113 !Bob Flanagan, Sheree Rose and the Implied Spectator! ! 118 ! "EPILEPSY AS ART?# Rita Marcalo and "The Community"! ! 130 !Bobby Baker and the Minefield of Language!!! ! 148 4 Chapter 3: Music is Disease: Cancer Blogs and Spectatorial Expectation ! Not Your Mother#s Illness Drama: Cancer Movies and Experimental !Performance!!!!!!!! ! 169 !Cancer and Precedent!!!!!! ! 187 !About the Bike: Lance Armstrong and Me!!! ! 194 !Copping Feels in Real Time: Reading Cancer Blogs!! ! 202 !Memorial Settings!!!!!!! ! 213 Chapter 4: PIcturing Your Life: Practice-Based Research and the Affect of Cancer ! ! Picture Your Life After Cancer!!!!!! 216 !Eat Me: Research, Development and the Fun with Cancer Canvases 223 !Tommyknockers Tommyknockers, Knocking At My Door!! 238 !The Guerilla Pub Quiz!!!!!!! 251 !Fun with Reflections!!!!!!! 260 Conclusion!!!!!!!!!! ! Illness, Wellness and Performing for "Normals"!! ! ! 268 !Or Else Your Friends Will Have to Do It!!!!! 286 !Confessions and Conclusions!!!!!! 289 Appendices A: Transcription of Interview with Rita Marcalo !! ! ! ! 293 B: Transcription of Interview with Bobby Baker!! ! ! ! 300 C: Contextualising Statement for Tommyknockers by Sue Gessler ! 307 D: Contextualising Statement for Guerilla Pub Quiz by Sue Gessler! 308 E: Contextualising Statement for Guerilla Pub Quiz by Anne Lanceley! 309 Bibliography!!!!!!!!! 310 Webography!!!!!!!!! 315 5 List of Illustrations Figure 1 — Fun with Cancer Patients website screenshot, 2010! 264 Figure 2 — Online Submission, Fun with Cancer Patients Canvas 1, 2010 264 Figure 3 — Online Submission, Fun with Cancer Patients Canvas 2, 2010 265 Figure 4 — Online Submission, Fun with Cancer Patients Canvas 3, 2010 265 Figure 5 — Online Submission, Fun with Cancer Patients Canvas 4, 2010 266 Figure 6 — Online Submission, Fun with Cancer Patients Canvas 5, 2010 266 Figure 7 — Online Submission, Fun with Cancer Patients Canvas 6, 2010 267 Figure 8 — Submitted Canvas to Fun with Cancer Patients Website by Laura, 2010 !!!!!!!!!!! 267 6 Acknowledgements I would like to acknowledge the incredible generosity of many colleagues, mentors, students and friends who have contributed to the completion of this thesis, and to my growth as researcher and performer. I would firstly like to thank the entire community at Queen Mary, University of London, who inspired me to return to higher education and provided me with the confidence and resources to explore the research contained within. I am particularly grateful to my supervisors Catherine Silverstone, Lois Weaver and Michael McKinnie for their constant support and guidance through this process. They are each incredibly inspirational thinkers and I feel humbled to have been under their supervision. I am also thankful for their encouragement and support for my QMUL Teaching Bursary, which provided the opportunity to study and teach at Queen Mary. I would also like to acknowledge my PhD cohort and my students at QM who have made valuable contributions to my research. !I would also like to acknowledge those colleagues outside of Queen Mary who have supported the work in various ways. I am grateful to have had the opportunity to present the first three central chapters at Performance Studies International (in Zagreb, Toronto and Utrecht) as well as presenting other pieces of chapters at Journeys Across Media Conference (Reading), Gobsmacked (Queen Mary), ATHE (Chicago), and Points of Exit (Maastricht). I would like to acknowledge the financial support of the Glynne Wickham Scholarship from SCUDD and the Central Research Funds of both Queen Mary and the larger University of London, who allowed me to attend these conferences and to travel to the University of Michigan in April 2010 to work with Petra Kuppers, which was a turning point in my research. 7 !I would like to thank the editorial boards at Performance Research and Contemporary Theatre Review (in particular, Dominic Johnson at CTR) who published papers based on Chapters 1 and 2, respectively, in Special Issues, and who were so generous and thoughtful during the peer reviewing and editing processes. I would like to acknowledge the encouragement of Bruce Henderson who was the first person to publish BALL in Text and Performance Quarterly in 2009, and who championed its inclusion in Understanding Disability Studies and Performance Studies (Routledge, 2010). In addition, I would like to acknowledge the support of Oberon Books and the Live Art Development Agency who, in 2012, will be publishing my scripts (BALL & Other Funny Stories About Cancer, Oberon Books, 2012) and video material (Cancer Cancer Cancer Cancer Cancer, Live Art Development Agency, 2012). I am thankful that the practical work discussed in this thesis will be publicly, and affordably, accessible. !I would like to acknowledge the venues and funding bodies who have been so supportive of my performance work, and these include the Wellcome Trust, the Jerwood Charitable Foundation, Duckie, Chelsea Theatre, Live Bait Theater, Sadler#s Wells, Compass Festival of Live Art, PULSE Fringe, Forest Fringe, The Basement, decibel, the Arnold P. Gold Foundation for Humanism in Medicine, the Canadian Association for Psychosocial Oncology, and especially Performing Medicine, with whom I#ve taught and performed for the last three years. Working and presenting performances with medical students and faculty inside the context of Performing Medicine has allowed me to understand how critical it is to broker the dialogues between medicine and the humanities. !I must acknowledge those individuals who have been so generous as to allow me to interview them, work with them, and hear feedback from them about 8 my various projects and chapters, making crucial contributions
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