Kathleen Gough – författare

Kinship and Performance in the Black and Green Atlantic advances an innovative and compelling approach to writing comparative studies of performance in transnational, intercultural relation to one another. Its chosen subject in this case is the cultural and political intersection of African and Irish diasporic peoples and movements.Gough approaches her subject via five key "flashpoints" in Black/Green relations, moving from the mid-nineteenth century to the early twenty-first century. In turn, each of these is related to mediums of performance that were prevalent at the time, such as abolitionist oratory and melodrama, photography and tableaux, architecture and folk drama, television and political demonstrations, and visual art and dramaturgy.By examining the unlikely kinship between social actors such as Ida B. Wells and Maud Gonne, Lady Augusta Gregory and Zora Neale Hurston, and Bernadette Devlin and Alice Childress, along with a host of old and new theatrical "characters," this book explores how a transmedial investigation of gender, community, and performance allows for a revision of historiography in Atlantic studies, while the study itself revises and reimagines key concepts central to performance studies.In 2014 Kinship and Performance was given the Errol Hill Award for Outstanding Scholarship in African American Theatre from the American Society for Theatre Research.

This book is a comparative study of caste and class in two small villages in the Thanjāvūr district of southeast India based on fieldwork done by the author in 1951-3. Differing from the usual village study, Gough's work traces the history of the villages over the past century and examines the impact of colonialism on the district since 1770. The volume's theoretical significance lies in its attempt to define more clearly the characteristics of rural class relations, particularly addressing the question whether Indian agrarian relations are still precapitalist. This study not only provides a vivid account of village life in southeast India in the 1950s (to be followed by a later study done in the 1970s), but also contributes to theory concerning modes of production, class structures in the Third World, and underdevelopment.

Kinship and Performance in the Black and Green Atlantic advances an innovative and compelling approach to writing comparative studies of performance in transnational, intercultural relation to one another. Its chosen subject in this case is the cultural and political intersection of African and Irish diasporic peoples and movements.Gough approaches her subject via five key "flashpoints" in Black/Green relations, moving from the mid-nineteenth century to the early twenty-first century. In turn, each of these is related to mediums of performance that were prevalent at the time, such as abolitionist oratory and melodrama, photography and tableaux, architecture and folk drama, television and political demonstrations, and visual art and dramaturgy.By examining the unlikely kinship between social actors such as Ida B. Wells and Maud Gonne, Lady Augusta Gregory and Zora Neale Hurston, and Bernadette Devlin and Alice Childress, along with a host of old and new theatrical "characters," this book explores how a transmedial investigation of gender, community, and performance allows for a revision of historiography in Atlantic studies, while the study itself revises and reimagines key concepts central to performance studies.In 2014 Kinship and Performance was given the Errol Hill Award for Outstanding Scholarship in African American Theatre from the American Society for Theatre Research.

On the eve of a global pandemic, Kathleen Gough, a theatre professor, becomes immersed in the lives of five artist-mystics, each of whom is a pioneer in her field: Hildegard of Bingen (1098-1179), the first known musical composer; Eleanora Duse (1858-1924), the first modern actor in the Western world; Simone Weil (1909-1943), philosopher, activist, and mystic, whom Albert Camus called “the only great spirit of our time”; Marina Abramovic (b. 1946), “the grandmother of performance art”; and Hilma af Klint (1862-1944), the first known (and belatedly acknowledged) abstract painter. Each time Gough crosses a threshold into their world, she is compelled to attend courses, seminars and workshops that are simultaneously about dying and healing.Curious to learn more about the relationships between art practice, dying, and healing, Gough imagines the five artists as wisdom teachers in a mystery school. In a series of eight lectures, she turns to performance theory to provide a framework for engaging with the unknown world. In Theatre and the Threshold of Death, Gough makes a persuasive argument for the world-making power of relational thinking in our increasingly polarized age.

On the eve of a global pandemic, Kathleen Gough, a theatre professor, becomes immersed in the lives of five artist-mystics, each of whom is a pioneer in her field: Hildegard of Bingen (1098-1179), the first known musical composer; Eleanora Duse (1858-1924), the first modern actor in the Western world; Simone Weil (1909-1943), philosopher, activist, and mystic, whom Albert Camus called “the only great spirit of our time”; Marina Abramovic (b. 1946), “the grandmother of performance art”; and Hilma af Klint (1862-1944), the first known (and belatedly acknowledged) abstract painter. Each time Gough crosses a threshold into their world, she is compelled to attend courses, seminars and workshops that are simultaneously about dying and healing.Curious to learn more about the relationships between art practice, dying, and healing, Gough imagines the five artists as wisdom teachers in a mystery school. In a series of eight lectures, she turns to performance theory to provide a framework for engaging with the unknown world. In Theatre and the Threshold of Death, Gough makes a persuasive argument for the world-making power of relational thinking in our increasingly polarized age.