- Zen on 9/11/11: WELCOME TO OUR REVOLUTION: Testimony From Tahrir. Performance at Pittsburgh’s Mattress Factory
- Gadihe on Upstaging the Establishment
- Rafael on Performances and announcements will be posted here as they occur
- Souvik on Breath in Dark Times: The Kowalchuk/Walker Project
- mattress on 9/11/11: WELCOME TO OUR REVOLUTION: Testimony From Tahrir. Performance at Pittsburgh’s Mattress Factory
Electoral Guerrilla Theatre: Radical Ridicule and Social Movements
Routledge Press, 2005.
Across the globe, in liberal democracies where the right to vote is framed as both civil right and civic duty, disillusioned creative activists run for public office on sarcastic, ironic and iconoclastic platforms. “Electoral Guerilla Theatre” explores the recent phenomenon of the satirical election campaign. Drawing on extensive archival and ethnographic research, Larry Bogad examines satirical campaigns around the world, placing his analysis in national, cultural, political and legal contexts. “Electoral Guerrilla Theatre” will offer an entertaining, enlightening and informative read for those working across a variety of disciplines, including performance studies, social science, cultural studies and politics. (click here to see if your library has EGT)
“Satire, Surveillance, and The State: a classified primer,” in Research in Drama Education: special issue on Drama for Citizenship and Human Rights Vol. 12, No. 3, November 2007, pp. 383-392
This piece discusses my one-person show, Eradi-Redaction, a cheerfully creepy tour through the wonderful world of FBI surveillance documents.
“Radical Ridicule: Political Satire post-9/11,”
in Radical Society: Review of Culture and Politics. New York: The Center for Social Research and Education, London: Routledge, 29: 3 (October 2002): 10-12.
Reactions to 9/11, and musings on the role of satire in the post-9/11 environment.
Inform yourself! Inform on your neighbor!
Follow Special Agent Christian White on a cheerfully creepy tour of declassified government surveillance documents. White probes the redacted (blacked-out) texts of the FBI’s notorious Counterintelligence Programs, searching for the words erased in the name of the Freedom of Information Act.
This script has been performed by writer/activist L.M. Bogad in theatres, galleries, labor halls, and community centers for the past twelve years. The pamphlet also includes a preface by Guillermo Gómez-Peña, and a companion essay by Bogad about the history of domestic surveillance/harassment, and a “how to” for would-be performers of the script.
“Carnivals Against Capital: Radical Clowning and the Global Justice Movement,”
essay in the Obermann Center for Advanced Studies-sponsored collection “The Arts and Cultural Politics of Carnival.”
(Under review by Duke U. Press)
The idea of Bakhtinian “Carnival,” a topsy-turvy, egalitarian moment where the masses enact a fleeting utopia and/or let off some steam, has been discussed in academia ad nauseum. How is this idea relevant to the new social movements, and how have those movements adapted it to their own ideologies?
“Tactical Carnival: Social Movements, Public Space and Dialogical Performance,” in A Boal Companion
eds. Jan Cohen-Cruz and Mady Schutzman. London: Routledge Press, 2006: 46-58.
Why demonstrate? What is the different between occupying space and opening space in social movement mass demonstrations? What role can creative performance, irony, satire, and carnival play in rejuvenating and galvanizing social movements?
“A Place for Protest: The Billionaires for Bush Interrupt the Hegemonologue,”
in Performance and Place,
eds. Hill, Leslie and Helen Paris.
Palgrave Macmillan, 2006: 170-179.
An account of the creative protests against the Republican National Convention in New York City in 2004. This piece focuses on the increasingly threatened right to peaceable assembly, and by groups like Billionaires for Bush to get around those restrictions and denials with tactical performance.
“The Revolt of the Senses: Hallucination, Revelation and Resistance in Antonio Buero-Vallejo’s The Foundation,”
in Images of Mental Illness through Text and Performance, ed. Sarah Randolph.
Lewiston, NY: Mellen Press, 2005: 63-71.
Antonio Buero-Vallejo was the Vaclav Havel of Fascist Spain, a powerful dissident playwright and a great dramatic innovator. This piece discusses his “immersion effect” with which he embedded the audience in the delusions and subjectivities of his protagonists.
“Radical Simulacrum, Regulation By Prank: The Oil Enforcement Agency,”
in Contemporary Theatre Review, Vol. 17(2), 2007, p261