{"id":112,"date":"2021-10-25T15:36:21","date_gmt":"2021-10-25T15:36:21","guid":{"rendered":"https:\/\/www.critical-stages.org\/24\/?p=112"},"modified":"2021-12-30T10:37:10","modified_gmt":"2021-12-30T10:37:10","slug":"loss-and-being-lost-performing-precarity-through-multilingual-text-song-and-music-in-zoo-indigos-dont-leave-me-this-way","status":"publish","type":"post","link":"https:\/\/www.critical-stages.org\/24\/loss-and-being-lost-performing-precarity-through-multilingual-text-song-and-music-in-zoo-indigos-dont-leave-me-this-way\/","title":{"rendered":"Loss and Being Lost: Performing Precarity through Multilingual Text, Song and Music in Zoo Indigo\u2019s <em>Don\u2019t Leave Me This Way<\/em>"},"content":{"rendered":"\n<p><strong>Rosie Garton<\/strong><a href=\"#end\" name=\"back\">*<\/a> and <strong>Ildik\u00f3 Rippel<\/strong><a href=\"#end2\" name=\"back2\">**<\/a><\/p>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>Abstract<\/strong><\/h5>\n\n\n\n<p class=\"has-drop-cap abstract\">This article examines the function of music and multilingualism in Zoo Indigo\u2019s <font class=\"no-italics\">Don\u2019t Leave Me This Way<\/font>. Through an engagement with live music, song and multilingual spoken text, an \u201caffective potential of tonality\u201d (Fischer-Lichte 120)&nbsp; is explored to express themes of precarity.&nbsp;The use of multilingualism functions \u201cto upset the position of dominant language\u201d (Byczynski 33), further highlighting a cultural precarity in a Brexit-ridden Britain. Drawing upon Butler\u2019s constructivist view of performativity, the authors reflect on a narrative of loss and being lost communicated and understood through a dramaturgical framework of multilingualism, mother tongues, live music, pre-recorded sounds and song. <br><br><strong>Keywords<\/strong>: Multilingualism, migration, precarity, musicality, loss<\/p>\n\n\n\n<p>Zoo Indigo is a female-led Anglo-German performance company based in Nottingham, co-founded by Rosie Garton and Ildik\u00f3 Rippel. Performed in German and English, our work uses song and live music alongside digital projection mapping to play with aural and visual interpretations beyond spoken dialogue. The devising process often starts from autobiographical reflections that allow us to address wider themes of gender, cultural identity, displacement and migration. In developing our most recent works, <em>No Woman\u2019s Land<\/em> (2016) and <em>Don\u2019t Leave Me This Way<\/em> (2020), we engaged in a process of physical revisiting to experience something beyond theoretical research, to undergo an endurance that we could take back to our rehearsal space and map onto our making process. For <a rel=\"noreferrer noopener\" href=\"https:\/\/www.critical-stages.org\/20\/no-womans-land-walking-as-a-dramaturgical-device-in-performance-of-maternal-migration\/\" target=\"_blank\"><em>No Woman\u2019s Land<\/em><\/a>, we re-walked a journey taken by Ildik\u00f3\u2019s grandmother after she was violently expelled from her place of birth in the aftermath of WWII.<\/p>\n\n\n\n<p>We walked 220 miles across Poland and Germany, collecting footage, interviews, soundscapes and gaining an embodied understanding of distance and endurance.&nbsp; Our new piece, <em>Don\u2019t Leave Me This Way,<\/em> similarly called for a physical re-visiting of the past, retracing our cultural heritage in visiting our mothers\u2019 homelands\u2014Ireland and Hungary.<\/p>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>Introduction<\/strong><\/h5>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-vimeo wp-block-embed-vimeo wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Don&#039;t Leave me this Way - Trailer\" src=\"https:\/\/player.vimeo.com\/video\/524841067?h=70374db84b&amp;dnt=1&amp;app_id=122963\" width=\"800\" height=\"450\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture\" allowfullscreen><\/iframe>\n<\/div><figcaption><em>Don\u2019t Leave Me This Way<\/em>. Devised by Zoo Indigo. November 2020. Credit: Ben Hughes<\/figcaption><\/figure>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\"><p>Four white strips, two metres apart, run parallel from downstage to upstage. Stark catwalks. At the end of each catwalk is a set of white wooden suitcases stacked like stairways to nowhere. On the strip to stage right, a man plays a violin (Rob). On the centre two strips, two women appear in long black dresses to tinned rapturous applause, they bow in graceful acceptance. The far-left strip remains vacant. Projected text on the stack of suitcases asks the performers (Rosie and Ildik\u00f3) to prove their lost cultural heritage. Rosie blunders through a description of the Irish poit\u00edn making process, while Ildik\u00f3 desperately dances the Hungarian Cs\u00e1rd\u00e1s. They list famous Irish authors and Hungarian inventions, and perform a series of citizenship catwalks to audition for their motherland, while video projections on the set show footage of their research trips, the seascape in Ireland, vibrant couples swirling in dance halls in Budapest. A disembodied voice comments on the events on stage, the voice of Eurovision commentator Terry Wogan. This is a desperate competition, which they will never win with clich\u00e9s and stereotypes.<\/p><cite>Zoo Indigo, <span style=\"font-style: italic\">Don\u2019t Leave Me This Way<\/span><\/cite><\/blockquote>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>The Process<\/strong><\/h5>\n\n\n\n<p>In 2018, as Brexit loomed, we began to question our European identity. British citizen Rosie, embarrassed to be English in such a messy, exclusive and increasingly xenophobic political landscape, wondered how much of her Irish heritage she could claim; as a Christmas present, her mum had sent her money to apply for an Irish passport, maybe Rosie would finally get around to completing the process. German-Hungarian Ildik\u00f3 had been granted \u201cindefinite leave to remain\u201d in the U.K. with her British-born children and husband, having lived here for over twenty years; she looked into gaining British Citizenship, but at a cost of \u00a31,500 this felt out of reach. Matt Marks, our musician, planned to explore his Jewish heritage, to rediscover a history of displacement, flight and persecution.<\/p>\n\n\n\n<p>In 2019, Ildik\u00f3, Rosie and Matt planned a series of trips across the continent to rediscover their cultural identities, travelling to Ireland, Hungary and Romania, learning songs and folk dances to embody their heritage. In January 2019, Rosie and Ildik\u00f3 traveled to Budapest. Matt had been diagnosed with cancer and was not well enough for the journey. We re-discovered Ildik\u00f3\u2019s Hungarian heritage as tourists. We participated in folk-dance classes, took walking tours to explore the Jewish history of the city on Matt\u2019s behalf and attended concerts. We interviewed musicians and dancers about the re-emergence of folk culture in Hungary, which had been forbidden during Communism, and about their views on the EU, Brexit and the rising nationalism under the current far-right government in Hungary.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-vimeo wp-block-embed-vimeo wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Don&#039;t Leave Me This Way\" src=\"https:\/\/player.vimeo.com\/video\/466475495?h=ded95f084b&amp;dnt=1&amp;app_id=122963\" width=\"800\" height=\"450\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture\" allowfullscreen><\/iframe>\n<\/div><figcaption>\u201cBudapest Research Trip.\u201d <em>Don\u2019t Leave Me This Way<\/em>. Zoo Indigo. January 2019<\/figcaption><\/figure>\n\n\n\n<p>In May 2019, we visited Dublin with Matt, and were fascinated by the highly political performance culture. We talked to artists and joined in with slurry-sing-alongs at local pub gigs. In D\u00fan Laoghaire, we walked towards the harbour and retraced Rosie\u2019s mother\u2019s steps when her family was forced to emigrate to Britain sixty years ago. Matt collated sounds and songs and played the accordion as we watched the bobbing boats. He bought a new nose-flute and played it abundantly, a strange nasal soundtrack to our road movie. <\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-vimeo wp-block-embed-vimeo wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Dublin DLMTW\" src=\"https:\/\/player.vimeo.com\/video\/473353725?h=4828088f1a&amp;dnt=1&amp;app_id=122963\" width=\"800\" height=\"450\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture\" allowfullscreen><\/iframe>\n<\/div><figcaption>\u201cDublin Research Trip.\u201d Zoo Indigo. <em>Don\u2019t Leave Me This Way<\/em>. May 2019<\/figcaption><\/figure>\n\n\n\n<p>For Matt&#8217;s musical and cultural Jewish heritage and his family\u2019s escape from the 19th century pogroms, we had planned to visit Romania. On May 15th, before we were able to undertake the trip, Matt was admitted into hospital for an operation to remove a malignant tumour. His heart did not recover, and he died hours after the operation. A few days earlier, in Dublin, we shared his last supper with him (the best steak he\u2019d ever had, he said), and he played his last tunes for us. The project came to a pause.<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-full\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"800\" height=\"600\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/10\/image1-1.jpeg?resize=800%2C600&#038;ssl=1\" alt=\"\" class=\"wp-image-114\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/10\/image1-1.jpeg?w=800&amp;ssl=1 800w, https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/10\/image1-1.jpeg?resize=300%2C225&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/10\/image1-1.jpeg?resize=768%2C576&amp;ssl=1 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/><figcaption>\u201c\u2018D\u00fan Laoghaire Harbour.\u201d <em>Don\u2019t Leave Me This Way<\/em>. Dublin Research Trip. May 2019. Credit: Drawing by Rosie Garton<\/figcaption><\/figure><\/div>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>The Performance:<em> Don\u2019t Leave Me This Way<\/em><\/strong><\/h5>\n\n\n\n<p>In 2020, we revisited the research, trawling through the film footage, images, notes and drawings of our travels, the lively presence of Matt on screen and paper causing a blurring of grief. The loss of a friend and collaborator was entwined with the sensations of feeling culturally lost, of grieving for a sense of cultural belonging. <em>Don\u2019t Leave Me This Way (DLMTW) <\/em>premiered at Voila! Europe Festival in 2020 and is the performative response to the research and the sense of loss. In a playful exploration of belonging, cultural heritage and performativity of nationhood, the work grieves the loss of identity, friends, home and the Eurovision song contest. In the shadow of Brexit, we, the performers, attempt to engage with our ancestral past to secure our position for the future.<\/p>\n\n\n\n<p>Underscored by live music on the violin, the soundscape shifts between familiar national anthems to distorted or fragmented traditional folk music from both our present homes and our mothers\u2019 countries of origin. Ildik\u00f3 moves between English and German, which is sometimes translated through projected text and sometimes not. We both sing in Hungarian. Throughout the work we purposefully use multilingualism to \u201cupset the position of dominant language as dominant\u201d (Byczynski 33), by decentring English language we hope to highlight a sense of cultural precarity in a Brexit-ridden Britain.<\/p>\n\n\n\n<p>Infrequently, reference is made to the fourth strip and suitcase, indicating the absence of Matt and highlighting the fragility of life and furthering a positioning\u00a0 of precarity. We speak about his search for his Jewish heritage, and projections of him playing music on our research trips appear on the suitcase stack. Our new musician Rob, a friend of Matt, speaks only through his violin and accordion, sometimes duetting with Matt&#8217;s projected image. He feels more articulate with instruments than with words. Through an engagement with live music, song and multilingual spoken text, tonality is used as a central dramaturgical device to express themes of precarity beyond the specifics of recognisable words. We consider how the tonalities of a \u201cforeign\u201d language are heard and interpreted as music, with the musical ambiguity that enables an expression of sensations and experiences that specific words would over-simplify. Yasmin Yildiz writes that the familial recognition of the tonalities of a mother tongue has a connection with the foundation of self which can: \u201cstir something deep down inside a person\u201d (203), further highlighting the transferable qualities of tonalities that have the ability to \u201cpenetrate the body and often trigger physiological and affective reactions\u201d (Fischer-Lichte 120).<\/p>\n\n\n\n<p><em>DLMTW<\/em> journeys from national stereotypes and clich\u00e9s to autobiographical anecdotes that question a sense of identity linked to nationhood. Rosie discusses wearing a \u201cheritage cloak\u201d (Zoo Indigo) as she realises that standing on D\u00fan Laoghaire harbour, where her mother left behind her extended family to flee to England, does not immediately result in an inherited embodiment of Irish heritage. Ildik\u00f3 confesses that she cannot speak Hungarian, her mother\u2019s mother tongue, and as such could not understand the dance instructor at the folk dance class in Budapest. As the performance unfolds, it becomes apparent that we are unable to reclaim our mothers\u2019 cultural heritage. We fail to perform our identity, and a sense of loss emerges, merged with the loss of our friend.<\/p>\n\n\n\n<p>The project came out of an urgent desire to cling to our European identity, an identity of multiplicities, shifting and disappearing borders and merging communities. In times of precarity regarding our European identity, it felt appropriate to create a precarious performance response, expressing our heterogeneity, vulnerabilities and uncertainties with regards to our cultural identity, and ultimately our failure in reclaiming our lost heritage. We sought ways in which to connect with an audience through a mutual understanding of loss and feeling out of place, beyond the specifics of one language and of our individual situations.<\/p>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>Musical Marking of Loss and Absence<\/strong><\/h5>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\"><p>Four white strips. On the strip to stage right, a man plays the violin. On the centre two strips, two women perform a series of gestures. The sound of roaring waves overrides the violin. On the vacant strip footage appears, projected on a suitcase. Matt Marks plays the accordion: \u201cThere once was a man called Michael Finnegan.\u201d<\/p><cite>Zoo Indigo<\/cite><\/blockquote>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-full\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"800\" height=\"533\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/10\/image2-4.jpeg?resize=800%2C533&#038;ssl=1\" alt=\"\" class=\"wp-image-115\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/10\/image2-4.jpeg?w=800&amp;ssl=1 800w, https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/10\/image2-4.jpeg?resize=300%2C200&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/10\/image2-4.jpeg?resize=768%2C512&amp;ssl=1 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/><figcaption>\u201cBy the roaring waves.\u201d Rob Rosa, Ildik\u00f3 Rippel, Rosie Garton. <em>Don\u2019t Leave Me This Way<\/em>. Devised by Zoo Indigo. July 2021. Derby Theatre, Derby. Photo: Chris Webb<\/figcaption><\/figure><\/div>\n\n\n\n<p><em>DLMTW<\/em> developed out of Matt\u2019s passionate urge to explore his heritage, personally, politically and musically. We searched for Jewish traces in European music on his behalf, and the performance is interlaced with sound snippets of his poetical accordion playing, and the lyrics and sounds of Jewish-Hungarian music. The music marks his absence but also creates a presence. In a discussion on mourning and precarity, Judith Butler frames loss as both a sense of losing a physical being and of losing a connection with people or place. She proposes that grief as a result of loss is not a privatized act but, through its inability to be fully expressed in words, becomes a universally understood experience: \u201cLoss has made a tenuous \u2018we\u2019 of us all\u201d (22). In <em>DLMTW,<\/em> the loss of a friend and collaborator is conflated with the loss of place, of nationhood, of cultural identity, of feeling situated. An audience member at Voila! Europe theatre festival 2020 reflected on this human condition and universal understanding: \u201cLoss. It\u2019s personal and you start to reflect on a sense of national loss too or a sense of loss of identity\u201d (audience feedback Voila 2020). The \u201cwe\u201d of loss in <em>DLMTW<\/em> then resonates as a complex feeling of multifaceted experiences.<\/p>\n\n\n\n<p>In discussing Verity Standen\u2019s performances of the human voice<em>, <\/em>Maddy Costa proposes that music in performance has the possibility to transfer such feelings of precarity. Costa suggests that the ambiguity of music, which cannot be expressed simply in words, offers a more nuanced understanding beyond language. Music, in this context, then requires an audience to interpret this complex mode of communication, drawing from their own experiences. Analyzing Standen\u2019s work, Costa notes: \u201cBut in terms of what it means? I couldn\u2019t tell you. All I have are feelings, images, stories\u201d (41).<\/p>\n\n\n\n<p>In <em>DLMTW<\/em>, there are times when moments of loss, grief and misunderstandings cannot be expressed in words; and moments when the performers do not speak the language which would best express the sentiment. Rob plays an intricate violin solo, improvised and unpredictable like the ebb and flow of the Irish sea, cladding into musical form the inexpressible feelings of grief, unreachable by the symbolic nature of language. In these moments, the ambiguity of sound becomes the text, a musical expression of sensation and experience as opposed to a precisely articulated description. \u201cThis music is just what we need to reflect on those two stories\u201d (audience feedback Voila! 2020). Rob does not speak on stage, but the sound of the violin expresses his identity. Here, musicality is used to both explicitly and subtly destabilise notions of social comfort and national settlement: \u201cRob Rosa takes to the catwalk to speak of his native homeland, but communicates through his instrument, with subtitled dialogue projected onto the suitcase\u2014a further reminder of the theme of migration\u201d (Snowe).<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-full\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"800\" height=\"533\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/10\/image3-3.jpeg?resize=800%2C533&#038;ssl=1\" alt=\"\" class=\"wp-image-116\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/10\/image3-3.jpeg?w=800&amp;ssl=1 800w, https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/10\/image3-3.jpeg?resize=300%2C200&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/10\/image3-3.jpeg?resize=768%2C512&amp;ssl=1 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/><figcaption>\u201cThis is how I speak.\u201d Rob Rosa. <em>Don\u2019t Leave Me This Way<\/em>. Devised by Zoo Indigo. July 2021, Derby Theatre, Derby. Photo: Chris Webb<\/figcaption><\/figure><\/div>\n\n\n\n<p>In attempting to identify with her Irish heritage, Rosie describes the tropes of writing an Irish ballad, and as an example she interweaves a song written by the Zoo Indigo duo, remembering Matt\u2019s heaving breathing in Dublin. Ildik\u00f3 joins in, harmonising, the lyrics at this point are ambiguous for the audience, not clearly linked to personal experience since there has been no mention of Matt\u2019s death in the performance thus far:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\"><p><strong>Rosie <\/strong><em>(talking):<\/em><strong> <\/strong>Irish song is based on the land, the people and the tales of Ireland. To find your lyrics you should first walk on the blustering shores. Feel the dark rich earth beneath your feet. Sit by a fireside, drink stout and poit\u00edn and surround yourself with luscious green vegetation.<br><br>Start with a time and place . . . specificity adds authenticity.<br><br><em>(Singing): <\/em>You slowed our pace along the shore.<br><br><em>(Talking): <\/em>Once a place has been established, the next stage is to paint the foundational image upon which the rest of the song can be built.<br><br><em>(Singing): <\/em>And played discordant underscore.<br><br><em>(Talking):<\/em> Together these lines create a movement, the sound and the word \u201cdiscordant\u201d offers something wrong about the situation. Now layer the drama.<br><br><em>(Singing):<\/em> For brave and mad without wetsuit.<br><br><em>(Talking):<\/em> Ensure you introduce your protagonist and their action.<br><br><em>(Singing):<\/em> You chimed along with your nose flute.<br><br><strong>Rosie and Ildiko <\/strong><em>(singing in harmony):<\/em><strong>\u00a0<\/strong><br><br>And as we wander through the town,\u00a0<br><br>Your usual chatter calms right down.<br><br>You slow our pace along the shore,<br><br>There\u2019s a tacet now in your underscore.<\/p><\/blockquote>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-vimeo wp-block-embed-vimeo wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Don&#039;t Leave Me This Way - Irish Song\" src=\"https:\/\/player.vimeo.com\/video\/551387793?h=b82a74fbde&amp;dnt=1&amp;app_id=122963\" width=\"800\" height=\"450\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture\" allowfullscreen><\/iframe>\n<\/div><figcaption>\u201cIrish Song.\u201d <em>Don\u2019t Leave Me This Way<\/em>. Devised by Zoo Indigo. November 2020. Rehearsal Video<\/figcaption><\/figure>\n\n\n\n<p>Musicality is used here to express connections between song, landscape and cultural identity. The tonality is found through a familiar Irish ballad structure and sound, the sentiment of which also mourns for a loss of a physical body. Pieter Verstraete articulates a \u201cmusicalized voice\u201d (1) on stage, that contributes to notions of narrativity and performativity. The musicalized voice is presented as a term to cover both the narrative qualities of the physical voice on stage, and the more abstract notion of \u2018narrative voice\u2019\u201d (1). Verstraete proposes that in postdramatic theatre, the musicalized voice has the ability to \u201ccreate unstable narrative positions as to allow slippages of identity, metaphor and closure\u201d (3), echoing Hans-Thies Lehmann\u2019s argument that the postdramatic musicalization form insists on the spectator making \u201cassociative connections and to draw a coherent narrative out of the presented events\u201d (3).<\/p>\n\n\n\n<p>In <em>DLMTW<\/em>, the dramaturgy is formed through voice, music and soundscape with the specifics of dialogue relocated as a secondary source of meaning. Snowe, in her review of <em>DLMTW,<\/em> argued that the \u201cmulti-sensory experience utilises various mediums in order to effectively engulf the audience into the characters\u2019 personal stories.\u201d We suggest that the sounds and musicalized voices present an \u201caural space\u201d (Fischer-Lichte 123). The narratives of loss (death, displacement) and being lost (cultural relocation, losing at games of Nationhood such as the Eurovision Song Contest) are communicated and understood through a dramaturgical framework of musicality of multilingualism, live music and pre-recorded sounds.<\/p>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>Performing Nationhood<\/strong><em><\/em><\/h5>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\"><p>Four white strips. Two performers catwalk their heritage, telling stories of their national heroes and heroines. Kevin Barry was an Irish Martyr, Rosie suspects, and Ildik\u00f3\u2019s namesake slayed Attila the Hun with his own sword. She tells the story in Hungarian while stabbing one of Rosie\u2019s Irish potatoes against her chest. Both then dance feverishly, Riverdance and Cs\u00e1rd\u00e1s merge and collide, to the violin flipping furiously between the clashing musical styles . . . <\/p><cite>Zoo Indigo, <span style=\"font-style: italic\">Don\u2019t Leave Me This Way<\/span><\/cite><\/blockquote>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-full\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"800\" height=\"533\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/10\/image4-2.jpeg?resize=800%2C533&#038;ssl=1\" alt=\"\" class=\"wp-image-117\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/10\/image4-2.jpeg?w=800&amp;ssl=1 800w, https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/10\/image4-2.jpeg?resize=300%2C200&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/10\/image4-2.jpeg?resize=768%2C512&amp;ssl=1 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/><figcaption>\u201cRiverdance and Cs\u00e1rd\u00e1s.\u201d Rob Rosa, Ildik\u00f3 Rippel, Rosie Garton. <em>Don\u2019t Leave Me This Way<\/em>. Devised by Zoo Indigo. July 2021, Derby Theatre, Derby. Photo: Chris Webb<\/figcaption><\/figure><\/div>\n\n\n\n<p>Through performing national stereotypes, we playfully critique the performativity of nationhood, toying with Butler\u2019s radical constructivist view of performativity, which \u201cis thus not a singular \u2018act,\u2019 for it is always a reiteration of a norm or set of norms, and to the extent that it requires an act-like status in the present, it conceals or dissimulates the conventions of which it is a repetition\u201d (<em>Bodies That Matter<\/em> 12). Throughout the performance we literally \u201cperform\u201d our lost nationalities in a series of competitive catwalks, explicitly presenting nationality as an \u201cact\u201d practiced through cultural repetition and rituals. Within the work we attempt to escape our cultural identity and claim our mothers\u2019 European heritage (Irish, Hungarian), which, ironically considering their history of migration, feels a more secure positioning in a precarious Brexit-ridden Britain. Anxiously proving our right to our cultural heritage, we share facts and recipes of national dishes, and eventually spoken text merges into song and frantic dances.<\/p>\n\n\n\n<p>Through singing the Irish ballad, the harmonies hauntingly reverberating in our bodies, and through repeatedly performing the vigorous Cs\u00e1rd\u00e1s until exhausted, we perform and embody our cultural heritage. However, the tonality in <em>DLMTW<\/em> also represents the loss of cultural heritage, as the Cs\u00e1rd\u00e1s bleeds into the deconstructed British and German National Anthems, it reveals a narrative of the performers\u2019 \u201cslippages of identities\u201d (Verstraete 3). Despite performing our lost heritage, we fail to escape our nationalities (British, German). Rosie tells the audience that she tried to \u201ccrawl into her mother\u2019s Irish shadow,\u201d but that it didn\u2019t quite fit. Ildik\u00f3 speaks in German, with subtitles projected on the suitcases translating her confession: \u201cWhen I first came to England, I borrowed my mother\u2019s Hungarian heritage. I was embarrassed to say that I was German. But that\u2019s what I am, where I am from\u201d (Zoo Indigo). As Butler suggests, subjects do not choose to perform an identity but are \u201chailed into an identity by the regulatory discourses of society\u201d (qtd. in Friedmann). The performative nature of our cultural identity is not a choice, it is embodied, and therefore, as Ildik\u00f3 informs us as she wipes herself down with dry hands, trying to rid herself of Germany\u2019s history, \u201cthe past doesn\u2019t really go away\u2014it sticks\u201d (Zoo Indigo).<\/p>\n\n\n\n<p><em>DLMTW<\/em> also explores the notion of performativity as a subversive act of mimesis or parody of nationality (specifically Britishness and Germanness), to \u201cdenaturalize and deauthorize the structure of domination, disclose its social construction, imply the possibility of change\u2014all of which can be read as deliberative or unconscious acts of resistance\u201d (Friedmann). Butler, in <em>Vulnerability<\/em>, claims that resistance assumes a situation of precarity, which provokes action. The \u201cact of resistance\u201d in <em>DLMTW<\/em> is voiced through the references to popular music (such as samples from the Eurovision song contest), which are underpinned by a contemporary struggle against historical narratives. Cvejic and Vujanovic (qtd. in Puar) suggest that such political potentials of the performance body are a \u201csymptomatic embodiment of ongoing precarization\u201d (175).<\/p>\n\n\n\n<p>Through media projections and sound design, a further critique of British and German nationalism is portrayed. On the stack of stairway suitcases there are two suitcases which open to reveal stereotypical microcosms. Rosie\u2019s British case contains a rose cottage, a double decker bus and a phone box, while Ildik\u00f3\u2019s world includes a Bavarian castle, a large beer and a sausage. The worlds consist of white cutout flats, surfaces for media projection. Initially, there are animated images of the national stereotypes, beer is frothing and Ildik\u00f3\u2019s big sausage glistens, Rosie\u2019s thatched rose-clad cottage glimmers in soft sunset filters. We hear Marlene Dietrich&#8217;s <em>Ich bin von Kopf bis Fuss auf Liebe eingestellt <\/em>(1930) and the Beatles\u2019 <em>All You Need Is Love <\/em>(1967), the sentimental tonalities of our national treasures reverberate in the space. The soundscapes then shift, and we hear sound fragments of crowds cheering and soldiers marching at the Nazi rallies in Ildik\u00f3\u2019s hometown Nuremberg, and black and white archival footage of the rallies is projected on the suitcase. The Beatles in Rosie\u2019s worlds are replaced with Irish voices, describing the discrimination experienced in the 1950s in Britain, while the romantic sunset imagery fades into a black and white video of Irish immigrants. The microcosm suitcases reveal the insides of the sentimentalities of extreme nationalism and the power of music and sound to unite a nation, such as rousing speeches, chanting, marching in unison, as well as through the potential of popular music to unify a group of people.<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-full\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"400\" height=\"533\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/10\/image5-3.jpeg?resize=400%2C533&#038;ssl=1\" alt=\"\" class=\"wp-image-118\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/10\/image5-3.jpeg?w=400&amp;ssl=1 400w, https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/10\/image5-3.jpeg?resize=225%2C300&amp;ssl=1 225w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\" \/><figcaption>\u201cGerman Suitcase.\u201d <em>Don\u2019t Leave Me This Way<\/em>. Devised by Zoo Indigo. November 2020. Rehearsal image. Photo: Barret Hodgson<\/figcaption><\/figure><\/div>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>Musicality of Multilingualism<\/strong><\/h5>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\"><p>Ildik\u00f3 addresses the audience in German. She tells of her mother\u2019s move from Hungary to Germany aged 22. Wrapped in a Hungarian shawl of embroidered flowers, long dark curly hair, looking \u201cgloriously foreign.\u201d The embarrassment of being an outsider engrained, she never taught her daughter her mother tongue. Rosie is translating this text. But Rosie does not speak German. Ildik\u00f3 could be saying anything . . . <\/p><cite>Zoo Indigo<\/cite><\/blockquote>\n\n\n\n<p><em>DLMTW <\/em>attempts to employ multilingualism in order to destabilise and decentre language, and specifically English language in a Brexit-ridden Britain, as a dominant tool of expression in performance. Julie Byczynski states that \u201cin the theatre, where one language is normally shared by actors and audience, dialogue spoken in minority language can function in ways to upset the position of dominant language as dominant\u201d (33). The inclusion of multiple languages aims to challenge established hierarchies amongst languages, with English being the most dominant. In <em>DLMTW<\/em>, multilingualism is clearly linked to the cultural identity of the performers. Ildik\u00f3 is a migrant living in the U.K. and was born in Germany to a German father and Hungarian mother. In the performance, German, Hungarian and English collide, using playful approaches towards (non-)translation, and sometimes text flows from one language to the other in the same section. Hungarian represents a \u201cmultilingualism \u2018from below,\u2019 associated with \u2018minor\u2019 languages, non-marketability, and invisibility\u201d (Karpinski 154). This is specifically related to the increased xenophobia brewing in post-Brexit Britain, aimed at economic migrants from Eastern Europe.<\/p>\n\n\n\n<p>Ildik\u00f3 narrates an anecdote, in German, about her mother\u2019s Hungarian heritage, and this text is translated into English by Rosie, three languages colliding and combining. \u201cOne day a bus driver mocked my mother\u2019s Hungarian clothes and mimicked her accent, so she never spoke Hungarian at home any more. . . .\u201d Zoo Indigo). This personal memory reinforces the sense of Eastern European languages presenting a multilingualism from below in contemporary Britain.<\/p>\n\n\n\n<p>Lehmann applies the term \u201cpolyglossia\u201d in analysing multilingual performance, the coexistence of multiple languages: \u201cThe principle of polyglossia proves to be omnipresent in postdramatic theatre. Multilingual theatre texts dismantle the unity of national languages\u201d (\u201cFrom Logos to Landscape\u201d 147). Multilingualism in <em>DLMTW<\/em> challenges the horizontality of languages through a mashing up and reinvention of language. Ultimately, the aim is to de-hierarchize the dominance of English in contemporary British performance. <em>DLMTW<\/em>, furthermore, attempts to stage the multiplicity of languages, critically addressing a sense of \u201cstrangeness\u201d and \u201cotherness\u201d of foreign languages. Meerzon <em>et al<\/em> argue that migrant authors often use the concept of the mother tongue as a marker of their characters\u2019 otherness or strangeness, no matter how irritating, exotic, or threatening this strangeness might be. They thus blur the boundaries between the language of the dominant culture and the language(s) of the minority (Meerzon et al.259).<\/p>\n\n\n\n<p><em>DLMTW<\/em> deliberately plays on a grotesque otherness of the German language in a rendition of national stereotypes read from a German flag that Ildik\u00f3 pulls out of her underpants, seemingly birthing her national identity. The list of stereotypes is stereotypical in itself<\/p>\n\n\n\n<ul class=\"wp-block-list\"><li><em>Biergarten<\/em><\/li><li><em>Bratwurst\u202f\u202f<\/em><\/li><li><em>Sauerkraut\u202f<\/em><\/li><li><em>Schnapps\u202f\u202f&nbsp;<\/em><\/li><\/ul>\n\n\n\n<p>a linear, organised structure consisting of stereotypically German sounds, including convoluted compound nouns and the velar and palatal fricative<\/p>\n\n\n\n<ul class=\"wp-block-list\"><li><em>Gem\u00fctlichkeit<\/em><\/li><li><em>Achtung<\/em><\/li><li><em>P\u00fcnktlich<\/em><\/li><\/ul>\n\n\n\n<p>\u201cch\u201d reverberations. This list is read aloud to a violin solo, the presto of Johann Sebastian Bach\u2019s sonata in G-minor (no. 1, BWV 1001). The rigid marching structure of words<\/p>\n\n\n\n<ul class=\"wp-block-list\"><li><em>Gesamtkunstwerk<\/em><\/li><li><em>Leitmotif<\/em><\/li><li><em>Glockenspiel<\/em><\/li><li><em>Gestalt<\/em><\/li><\/ul>\n\n\n\n<p>spoken to the rhythm of Rosie\u2019s stomping feet is juxtaposed to the intricate and circular structure of the Bach sonata which Ildik\u00f3 declares as \u201cyearningly un-German, a multiple musical orgasm\u201d (Zoo Indigo). The music itself has no constant rhythm; it playfully and polyphonically disrupts expectations of stereotypically German music, whilst Ildik\u00f3 reinforces the expectations in her list of stereotypes. This juxtaposition challenges national stereotypes in a playful manner. Meerzon et al, citing Carlson, argue that \u201cfrom a political perspective, foregrounding multilingual voices in performance is a way of resisting \u201cnationalist stereotypes\u201d and working toward \u201cmulticultural democratic equality\u201d (260).<\/p>\n\n\n\n<p>The performance ends with a reveal of Matt\u2019s death, a sense of loss of identity through losing the people in our lives, combined with a loss of cultural identity. We perform a spiritual song, which we encountered in Budapest, during a walking tour of the Jewish quarter. We witnessed past and present merging, reminders of the horrors of the Holocaust in Hungary, frozen in time as \u201cthe past sticks\u201d (Zoo Indigo). In Budapest, we also witnessed signs of communities gathering and celebrating their culture today. The tour guide sang a Jewish-Hungarian song to us, <a href=\"https:\/\/dianasenechal.wordpress.com\/2018\/05\/22\/if-i-should-say-i-have-hope\/\" target=\"_blank\" rel=\"noreferrer noopener\"><em>Sz\u00f3l a kakas m\u00e1r<\/em><\/a>. \u201cBeloved by Hungarian Jews, it has come to be associated with the Shoah because of its Messianic longing\u201d (Senechal).<\/p>\n\n\n\n<p>The song combines a typically Jewish melody and tonal arrangements with Hungarian lyrics and song structure, a soundscape of cultures merging, revealing traces of migration, integration, as well as separation and persecution with echoes of the Shoah lingering in the lyrics, a song of mourning and loss, yet also hope. We bring this fractured merging of cultures and identities into the performance. We adapted the melody, and developed complex harmonies, in order to further represent our multiplicities. We sing to the chiming drone of a wine glass, a reference to the wine we drank in Budapest, \u201c<em>Bulls Blood, <\/em>a strong Hungarian red, and we are drunk a lot of the time!\u201d (Zoo Indigo). This playful anecdote merges into the narration of our memory of the Jewish quarter. The story spoken in English is interrupted and then replaced by the Hungarian song.<\/p>\n\n\n\n<p class=\"has-text-align-center\"><em>Sz\u00f3l a kakas m\u00e1r<\/em><br><em>Majd megvirrad m\u00e1r<\/em><\/p>\n\n\n\n<p>The familiarity and meaning emerging through the majority language, English, slowly disappears into words that are merely sounds to a British audience. This produces a \u201cglossopoeia,&#8221; as coined by Jacques Derrida, a text consisting of \u201cintonations, vibrations, visuality, movements, and gestural contact\u201d (Papaioannou 14). Meaning slips in this instance, in a Derridean sense, and the non-translation brings us closer here to the real beyond language, to present the inexpressible experience of grief. In a discussion on the creation of atmospheres in theatre spaces, Fischer-Lichte writes of odour and sounds as fundamental atmospheric conduits. Sound, she claims, has the ability to both encompass and penetrate spectators, triggering heightened physical and emotional responses:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\"><p>When a sound resounds in the listeners\u2019 chests, inflicting physical pain or stimulating goose-bumps, they no longer hear it as something entering their ears from outside but feel it from within as a physical process creating oceanic sensations. (119)<br><br><em>Z\u00f6ld erd\u0151ben, s\u00edk mez\u0151ben<\/em><br><em>s\u00e9t\u00e1l egy mad\u00e1r.<\/em><\/p><\/blockquote>\n\n\n\n<p>The replacing of the familiar English with the unfamiliar and seemingly strange sounds of Hungarian creates a rupture in the representational nature of language and theatre. The focus shifts from the symbolic nature of text to the sensual, a language prior to meaning, a Derridean glossopoeia, which<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\"><p>takes us back to the borderline of the moment when the word has not yet been born, . . . when repetition is <em>almost<\/em> impossible, and along with it, language in general: the separation of concept and sound, of signified and signifier, of the pneumatical and the grammatical, the freedom of translation and tradition, the movement of interpretation, the difference between the soul and the body, . . . the author and the actor.<\/p><cite>Derrida 240<\/cite><\/blockquote>\n\n\n\n<p>Glossopoeia and polyglossia also have the potential to move beyond meaning and the symbolic register, to engage with the real and corporeal aspects of language. Meerzon et al argue that multilingualism relies on the audience\u2019s \u201cability to construct meaning . . . through reading paralinguistic cues vital to speech-making: changes in rhythm and intonation, speed of delivery, pauses, gestures, postures, facial expressions, movements, and so on\u201d (260). Derridean glossopoeia is similar to Fischer-Lichte\u2019s concept of tonality in terms of describing language as music and affective texture rather than text producing clear meaning. The glossopoeia of multilingualism potentially opens a fissure within the symbolic fabric of theatre, letting the real leak into its fibres. In this instance, the Hungarian song weaves in a melancholy of loss and grief that is unrepresentable through language; the loss of our friend, the trauma of forced migration, persecution. The history that sticks, that reverberates, a history part of Matt\u2019s identity. And through the glossopoeia of multiple languages and the merging of song and speech seeps the grief for our friend.<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\"><p><em>We put this moment into our pockets, for Matt. It is his story too.<\/em><br><br><em>Z\u00f6ld erd\u0151ben, s\u00edk mez\u0151ben<\/em><br><em>s\u00e9t\u00e1l egy mad\u00e1r.<\/em><\/p><\/blockquote>\n\n\n\n<p>We sing the song as an epilogue and eulogy for Matt and the precarious and multifaceted identities we have, scattering ashes of what is lost. Projections of Budapest in the snow from our research trip appear on the stacks of white suitcases. Standing downstage we slowly release the ashes from our hands, singing in harmony as the lights fade down to the gentle drone of the violin.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-vimeo wp-block-embed-vimeo wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Don&#039;t Leave Me This Way - Hungarian Song.mp4\" src=\"https:\/\/player.vimeo.com\/video\/551392706?h=051c318d21&amp;dnt=1&amp;app_id=122963\" width=\"800\" height=\"450\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture\" allowfullscreen><\/iframe>\n<\/div><figcaption>\u201cHungarian Song.\u201d <em>Don\u2019t Leave Me This Way<\/em>. Devised by Zoo Indigo. November 2020. Rehearsal Video<\/figcaption><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>Conclusion<\/strong><\/h5>\n\n\n\n<p>Butler (<em>Precarious Life<\/em>) insists that precarity should be acknowledged as a condition that makes us human; she urges us to consider that an exposure to \u201cotherness\u201d is what makes us vulnerable, and that such fragilities reveal commonalities between us which in turn makes us ethically accountable to each other:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\"><p>If I am confounded by you, then you are already of me, and I am nowhere without you. I cannot muster the \u201cwe\u201d except by finding the way in which I am tied to \u201cyou,\u201d by trying to translate but finding that my own language must break up and yield if I am to know you. You are what I gain through disorientation and loss. This is how the human comes into being, again and again, as that which we have yet to know.<\/p><cite>49<\/cite><\/blockquote>\n\n\n\n<p>Expressions of loss unite us through a shared identification of vulnerability. Those expressions are often inexpressible through the symbolic order of language but emerge from an affective texture of glossopoeia. Fischer-Lichte proposes that \u201cthe transience of performance is epitomized in its tonality\u201d (120); she suggests that the ephemeral nature of theatre is made even more precious by the fleetingness of sound. We return to the notion that sounds have the ability to penetrate the body, and tonality has the ability to trigger physiological responses caused by swells of indistinguishable memories.<\/p>\n\n\n\n<p>We propose that the colliding and combining of multiple languages has extended capabilities to move the spectator beyond language, to an affective space where text is experienced as materiality that stirs us from within. The two of us searched for songs and music in order to fill our lungs and bodies with the reverberations of our cultural heritage, to claim our lost identities, to feel a sense of belonging in our bones. But those tonalities of origin moved beyond the structures of language or the idea of nationhood and uncovered the precarity of home and belonging as a construct that is always already lost. While national identity and cultural heritage are concepts that we accept as being part of our identities, we equally acknowledge the artificial nature of such notions. In multilingual theatre, where language is exposed as a symbolic construct, one can experience the affective power of tonality within language. In this instance, language, and the differences created between us when speaking different languages, is precarious, is momentarily undone, and potentially, momentarily, so is the monolingual paradigm and the construct of nationhood. A medley of familiar and \u201cforeign\u201d tones of music and language creates tensions between difference and belonging. This is accentuated by a desire to capture and contain the evanescent and misty reactions to tonalities, which, rendered as a futile task, exposes a further fragility in us all. Butler emphatically writes that in order to understand each other, we must acknowledge such precarities: \u201cLet\u2019s face it. We\u2019re undone by each other. And if we\u2019re not, we\u2019re missing something\u201d (23).&nbsp;<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-full\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"800\" height=\"769\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/10\/image6-2.jpeg?resize=800%2C769&#038;ssl=1\" alt=\"\" class=\"wp-image-119\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/10\/image6-2.jpeg?w=800&amp;ssl=1 800w, https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/10\/image6-2.jpeg?resize=300%2C288&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/10\/image6-2.jpeg?resize=768%2C738&amp;ssl=1 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/><figcaption>\u201cMatt Marks at D\u00fan Laoghaire Harbour.\u201d <em>Don\u2019t Leave Me This Way<\/em>. Dublin Research Trip. May 2019. Photo: Ildik\u00f3 Rippel<\/figcaption><\/figure><\/div>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>Bibliography<\/strong><\/h5>\n\n\n\n<p class=\"hangingIndent\">Bouko, Catherine. \u201cJazz Musicality in Postdramatic Theatre and the Opacity of Auditory Signs.\u201d <em>Studies in Musical Theatre<\/em>, vol.1. no. 4, 2010, pp. 75\u201387.<\/p>\n\n\n\n<p class=\"hangingIndent\">Butler, Judith. <em>Bodies<\/em><em> That Matter: On the Discursive Limits of \u201cSex.\u201d<\/em> Routledge, 1993.<\/p>\n\n\n\n<p class=\"hangingIndent\">&#8212;. <em>Precarious Life: The Powers of Mourning and Justice.<\/em> Verso, 2020.<\/p>\n\n\n\n<p class=\"hangingIndent\">Butler, Judith, Zeynep Gambetti, and Letecia Sbsay. <em>Vulnerability in Resistance<\/em>. Duke UP, 2016.<\/p>\n\n\n\n<p class=\"hangingIndent\">Byczynski, Julie. \u201cA Word in a Foreign Language: On Not Translating in the Theatre.\u201d <em>Canadian Theatre Review<\/em>, vol. 102, 2000, pp. 33\u201337.<\/p>\n\n\n\n<p class=\"hangingIndent\">Carlson, Marvin. <a href=\"https:\/\/worc.summon.serialssolutions.com\/2.0.0\/link\/0\/eLvHCXMwhV1bS8MwFD7o9uKDoPM2b_RpD0KnvcUURNE58UHBy_DyFNImkaHrZrehP9-TNJ3bEIS-pE3acnI4OdfvAAR-88idkwm63lqF0hNBKJCL_Igeh4JEwiMS9W2DmXTbIfe35PmF3NnOpbo0xkQMbZpis5SVk1jqVz9PDZ6AzbdsFrUAZ6KUzxp5pjH4dHWTKR2MtR03FqGKJz9FW6163n54fZo4ZbQBQSweViHKAzwPqalk1_FKVCa8ErXHjmmZyDjrPJlRWJfH2nHYfeOZSW4t0KjMAXa1AlWpqxpWYUFmNahe5rzHa7B5Y72VQ6fh3EwAlodr4J70eP5--jiQplvVyaEZOt3MKR50-rhQDu39dXi6anda167trOByX-PTuCFJ8SI0kT7ac7EKk1Rxjd2eoHoSxKgWaGR2qoR2EaVKCE9JNERoyjlJkigKNqCS9TO5BQ5uIxqRJE7kEQ25J2mQxiKkKhZopwe-qsO-oQ_TWzlkaHSgTkRZD9mNxahehXVwpgjHZDGvpLFPoigqphhqsmmWYO2Llt3mOvizVLbf6-dvLOkmHzq1d_wxmn_vwZ-LRt9zE9lAqO3_f2IHln5dNLtQGeVjuQcVzaf7ltd-ALGt6Go\" target=\"_blank\" rel=\"noreferrer noopener\"><em>Speaking in Tongues: Languages at Play in the Theatre<\/em><\/a>. U of Michigan P, 2010.<\/p>\n\n\n\n<p class=\"hangingIndent\">Costa, Maddy, and Andy Field. <em>Performance in an Age of Precarity: 40 Reflections<\/em>. Methuen Drama, 2021.<\/p>\n\n\n\n<p class=\"hangingIndent\">Deleuze, Gilles, and F\u00e9lix Guattari. <em>A Thousand Plateaus: Capitalism and Schizophrenia<\/em>. Translated by Brian Massumi, U of Minnesota P, 1987. <strong><\/strong><\/p>\n\n\n\n<p class=\"hangingIndent\">Fischer-Lichte, Erika. <em>The Transformative Power of Performance: A New Aesthetics. <\/em>Routledge, 2008.<\/p>\n\n\n\n<p class=\"hangingIndent\">Friedmann, Susan Stanford. \u201c<a rel=\"noreferrer noopener\" href=\"https:\/\/www.eurozine.com\/border-talk-hybridity-and-performativity\" target=\"_blank\">Cultural theory and identity in the spaces between difference<\/a>.\u201d <em>Eurozine<\/em>.<\/p>\n\n\n\n<p class=\"hangingIndent\">Karpinski, Eva C. \u201cCan Multilingualism Be a Radical Force in Contemporary Canadian Theatre?: Exploring the Option of Non-Translation.\u201d <em>Theatre Research in Canada<\/em>, vol. 38, no. 2, 2017, pp.153\u201367.<\/p>\n\n\n\n<p class=\"hangingIndent\">Lehmann, Hans-Thies. \u201cFrom Logos to Landscape: Text in Contemporary Dramaturgy.\u201d <em>Performance Research<\/em>, vol. 2, no. 1, 1997, pp. 55\u201360.<\/p>\n\n\n\n<p class=\"hangingIndent\">&#8212;. <em>Postdramatic Theatre<\/em>. Translated and with an introduction by Karen J\u00fcrs-Munby, Routledge, 2006.<\/p>\n\n\n\n<p class=\"hangingIndent\">Meerzon, Yana. \u201c<a rel=\"noreferrer noopener\" href=\"https:\/\/worc.summon.serialssolutions.com\/2.0.0\/link\/0\/eLvHCXMwtV3db9MwELdYeeEF8c3YQBYP8IBCG-cbDaSND7GhItBaAU_RzXa6bmsCaapJ--u5i50mmcQED7xYlZ04rX-Xu7N79zvGPPFy5FzSCTACHbpuJP2R9tFGiwA3RtqPIoUmy6-T-seT8Os4_PY9_NLU3R4O277_Cjz2IfSUSPsP4K8nxQ78jCKALQoBtn8lBns2DuvAhlQUFBJHBwizJk_qmAJiitkZWss51AwSi8V8hiasegGriliaOqTWJ2vhgqqkiivtqUnNc7BW8mOtywvzj_4PMBW6m8MFN6BICNFuRfvBIRPDqWASaECt8CZzBm3oyQ8bFux3JVibYnQqvuQONnFX6RrWEytcoqtBTfXQSyTYu-jVhR5ubsQzokRfqLmsXuvcmX7aYBuopsgP3t9rTLAnAhNO0Dz5T_a2diImt9hN6_3zXYPTbXZN53fY9fqX3GVTixU_0Byx4ojVK26R4ogU31lAefqmh9fOsO7jRcbXsPEebPfY9MP7yduPjq164UjheWgUlcwSoXCbip6pG2U6zsDzj1wA7A8FBVy6mVZ-QoWTKE9aZ0dRoASA7wqplHefDfIi1w8Zj0PQIxFlbhwH6IlFCUjlBXR7mMgkCjbZU1qWlHhAcgo0msFquUz3Dz-n7YJvsgf2oqyoSpBpZ-R5bwRsRgc-nEjFenNs9a6UP-e_uvNsN7Ck9tVZpmgo8DtT9YArhnEBvEdXzr3FbrRyvc0GVbnSj9ngvCjlk1pmfgMLb3dH\" target=\"_blank\">Between Je and Moi: staging the Heteroglossia of Immigrant Autobiography<\/a>.\u201d <em>Theatre Research in Canada<\/em>, vol. 36, no. 2, 2015, pp. 290\u2013311.<\/p>\n\n\n\n<p class=\"hangingIndent\">Meerzon, Yana, <a href=\"https:\/\/biblio.ugent.be\/person\/25CC203A-F0EE-11E1-A9DE-61C894A0A6B4\" target=\"_blank\" rel=\"noreferrer noopener\">Katharina Pewny<\/a>, and <a href=\"https:\/\/biblio.ugent.be\/person\/BDFDC878-0C3F-11E3-BE91-8EC010BDE39D\" target=\"_blank\" rel=\"noreferrer noopener\">Tessa Vannieuwenhuyze<\/a>. \u201cIntroduction: Migration and Multilingualism.\u201d <em>Modern Drama<\/em>, vol. 61, no. 3, 2018, pp. 257\u201370.<\/p>\n\n\n\n<p class=\"hangingIndent\">Papaioannou, Spyros. \u201cMapping the \u2018Non-representational\u2019: Derrida and Artaud\u2019s Metaphysics of Presence in Performance Practice.\u201d <em>Liminalities: A Journal of Performance Studies, <\/em>vol. 14, no. 4, 2018, pp. 1\u201320.<\/p>\n\n\n\n<p class=\"hangingIndent\">Puar, Jasbir. \u201cPrecarity Talk: A Virtual Roundtable with Lauren Berlant, Judith Butler, Bojana Cvejic, Isabell Lorey, Jasbir Puar and Ana Vujanvovic.\u201d <em>Theatre and Drama Review<\/em>, vol. 56, no. 4, 2012, pp. 163-177.<\/p>\n\n\n\n<p class=\"hangingIndent\">Ridout, Nicholas, and Rebecca Schneider. \u201cPrecarity and Performance: An Introduction.\u201d <em>Theatre and Drama Review<\/em>, vol. 56, no. 4, 2012, pp. 5\u20139.<\/p>\n\n\n\n<p class=\"hangingIndent\">Sahakian, Emily. \u201cSpeaking in Tongues : Languages at Play in the Theatre. Book Review.\u201d <em>TDR: The Drama Review<\/em>, vol. 52, no. 2, 2008, pp. 190\u201392.<\/p>\n\n\n\n<p class=\"hangingIndent\">Senechal, Diana. <em><a rel=\"noreferrer noopener\" href=\"https:\/\/dianasenechal.wordpress.com\/tag\/szol-a-kakas-mar\/\" target=\"_blank\">Just As You Sent the Rain This Night, So Raise This Boy<\/a>.<\/em> 22 May 2018.<\/p>\n\n\n\n<p class=\"hangingIndent\">Snowe, Brooke. \u201c<a rel=\"noreferrer noopener\" href=\"https:\/\/www.theupcoming.co.uk\/2020\/11\/21\/dont-leave-me-this-way-at-the-cockpit-theatre-online-theatre-review\/\" target=\"_blank\"><em>Don\u2019t Leave Me This Way<\/em> at the Cockpit Theatre Online<\/a>.\u201d <em>The Up and Coming<\/em>. 21 Nov. 2020.<\/p>\n\n\n\n<p class=\"hangingIndent\">Verstraete, Pieter.<em> <a rel=\"noreferrer noopener\" href=\"http:\/\/www.researchgate.net\/publication\/237388223_Vocal_Distress_on_Stage_Voice_and_diegetic_Space_in_contemporary_Music_Theatre\" target=\"_blank\">Vocal Distress on Stage: Voice and Diegetic Space in contemporary Music Theatre<\/a><\/em>. May 2005.<\/p>\n\n\n\n<p class=\"hangingIndent\">Yildiz, Yasmine. <em>Beyond the Mother Tongue: The Postmonolingual Condition. <\/em>U of Virginia P, 2011.<\/p>\n\n\n\n<p class=\"hangingIndent\">Zoo Indigo. <em>Don\u2019t Leave Me This Way<\/em>. Performance, 20 Nov. 2020, Voila! Europe Festival.<a name=\"end\">&nbsp;<\/a><\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<figure class=\"wp-block-image size-thumbnail alignnone\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/10\/Rosie-Garton.jpeg?resize=150%2C150&#038;ssl=1\" alt=\"\" class=\"wp-image-120\"\/><\/figure>\n\n\n\n<p><a name=\"end\" href=\"#back\">*<\/a><strong>Rosie Garton<\/strong> is Programme Leader of BA Performing Arts at De Montfort University, Leicester. Her current PhD studies (DMU) interrogates the disruptive performance of gendered cycling in everyday travel. Other research interests include: performances of precarity, ecological travel, gendered urban negotiations, dramaturgies of migration and disruptive\/ed pedagogic practices.<a name=\"end2\">&nbsp;<\/a><\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<figure class=\"wp-block-image size-thumbnail alignnone\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/10\/Ildiko-Rippel.jpeg?resize=150%2C150&#038;ssl=1\" alt=\"\" class=\"wp-image-113\"\/><\/figure>\n\n\n\n<p><a name=\"end2\" href=\"#back2\">**<\/a><strong>Ildik\u00f3 Rippel<\/strong> is course leader of the integrated Masters in Touring Theatre at the University of Worcester. She completed a practice-research PhD at Lancaster University in 2017, examining maternal performance and the presence of family members in contemporary theatre. Her current practice-research with Zoo Indigo investigates multilingualism and dramaturgies of migration.<\/p>\n\n\n\n<p class=\"has-text-align-center has-small-font-size\">Copyright <strong>\u00a9<\/strong> 2021 Rosie Garton and Ildik\u00f3 Rippel<br><em>Critical Stages\/Sc\u00e8nes critiques<\/em> e-ISSN:2409-7411<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><a href=\"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/\" target=\"_blank\" rel=\"noreferrer noopener\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/wp-content\/uploads\/2021\/03\/88x31.png?w=800&#038;ssl=1\" alt=\"Creative Commons Attribution International License\"\/><\/a><\/figure><\/div>\n\n\n\n<p class=\"has-text-align-center has-small-font-size\">This work is licensed under the<br>Creative Commons Attribution International License CC BY-NC-ND 4.0.<\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":117,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[3],"tags":[],"class_list":["post-112","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-essays"],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/10\/image4-2.jpeg?fit=800%2C533&ssl=1","jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":246,"url":"https:\/\/www.critical-stages.org\/24\/endangered-theatre-a-philippine-notebook\/","url_meta":{"origin":112,"position":0},"title":"Endangered Theatre: A Philippine Notebook","author":"Rosie Garton and Ildik\u00f3 Rippel","date":"December 22, 2021","format":false,"excerpt":"Katrina Stuart Santiago* Abstract This is a critical assessment of Philippine theatre in Manila based on ruptures in its status quo of silence over fundamental divides based on language and privilege, as well as important issues of neo-coloniality, inequality, and injustice. The essay argues that the surfacing of these crises\u2026","rel":"","context":"In &quot;National Reports&quot;","block_context":{"text":"National Reports","link":"https:\/\/www.critical-stages.org\/24\/category\/national-reports\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/11\/image6b-1.jpeg?fit=800%2C531&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/11\/image6b-1.jpeg?fit=800%2C531&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/11\/image6b-1.jpeg?fit=800%2C531&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/11\/image6b-1.jpeg?fit=800%2C531&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":90,"url":"https:\/\/www.critical-stages.org\/24\/devising-decolonizing-and-disrupting-america-musical-theatre-aural-anatomy-through-the-playlist-musical\/","url_meta":{"origin":112,"position":1},"title":"Devising, Decolonizing, and Disrupting American Musical Theatre Aural Anatomy Through the Playlist Musical","author":"Rosie Garton and Ildik\u00f3 Rippel","date":"October 24, 2021","format":false,"excerpt":"Natalie Rine* Abstract Ethnographic perspectives on commercial musical theatre works in the United States invite us to view a show\u2019s\u00a0composition, and thus their exercise of power, as constituted by written and aural contributions of only one to a few creators. Yet, modern listening habits and popular music positionalities champion multi-composer\u2026","rel":"","context":"In &quot;Essays&quot;","block_context":{"text":"Essays","link":"https:\/\/www.critical-stages.org\/24\/category\/essays\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/10\/image5-2.jpeg?fit=800%2C478&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/10\/image5-2.jpeg?fit=800%2C478&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/10\/image5-2.jpeg?fit=800%2C478&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/10\/image5-2.jpeg?fit=800%2C478&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":265,"url":"https:\/\/www.critical-stages.org\/24\/aurality-and-the-actor-in-filter-theatres-twelfth-night\/","url_meta":{"origin":112,"position":2},"title":"Aurality and the Actor in Filter Theatre\u2019s Twelfth Night","author":"Rosie Garton and Ildik\u00f3 Rippel","date":"December 11, 2021","format":false,"excerpt":"Sarah McCourt* Abstract This article explores the relationship between aurality and the actor in Filter Theatre\u2019s Twelfth Night. It explores how Filter\u2019s collaborative process and focus on resolving staging problems sonically creates a productive interplay between visual, embodied and aural modes of performance. It also considers how the productive tension\u2026","rel":"","context":"In &quot;Special Topic&quot;","block_context":{"text":"Special Topic","link":"https:\/\/www.critical-stages.org\/24\/category\/special-topic\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/11\/image2.jpeg?fit=800%2C533&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/11\/image2.jpeg?fit=800%2C533&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/11\/image2.jpeg?fit=800%2C533&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/11\/image2.jpeg?fit=800%2C533&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":464,"url":"https:\/\/www.critical-stages.org\/24\/sounds-of-the-city-dramaturgy-space-identity\/","url_meta":{"origin":112,"position":3},"title":"Sounds of the City: Dramaturgy, Space, Identity","author":"Rosie Garton and Ildik\u00f3 Rippel","date":"December 14, 2021","format":false,"excerpt":"Katie Beswick* and Javon Johnson** Abstract This article offers a response to the question, \u201cHow can we think about cities within the frame of a dramaturgy of sound?\u201d Drawing on our scholarly interest in cities, we, the authors, consider how city meanings are produced and transmitted through music cultures. We\u2026","rel":"","context":"In &quot;Special Topic&quot;","block_context":{"text":"Special Topic","link":"https:\/\/www.critical-stages.org\/24\/category\/special-topic\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/featured.jpg?fit=800%2C533&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/featured.jpg?fit=800%2C533&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/featured.jpg?fit=800%2C533&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/featured.jpg?fit=800%2C533&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":532,"url":"https:\/\/www.critical-stages.org\/24\/strategies-in-the-underheard-listening-in-to-new-compositional-queer-performance-making\/","url_meta":{"origin":112,"position":4},"title":"Strategies in The Underhe(a)rd: Listening in to New Compositional Queer Performance-making","author":"Rosie Garton and Ildik\u00f3 Rippel","date":"December 8, 2021","format":false,"excerpt":"Peta Murray*, Alyson Campbell** and Meta Cohen*** Abstract In Sonic Agency (2019), Brandon LaBelle draws on the thinking of both Judith Butler (1990) and Sara Ahmed (2006) to put forward an argument for queering the acoustic, or \u201cgiving accent to the ways in which acts of compositioning assist in processes\u2026","rel":"","context":"In &quot;Special Topic&quot;","block_context":{"text":"Special Topic","link":"https:\/\/www.critical-stages.org\/24\/category\/special-topic\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/featured.jpeg?fit=800%2C533&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/featured.jpeg?fit=800%2C533&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/featured.jpeg?fit=800%2C533&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/featured.jpeg?fit=800%2C533&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":474,"url":"https:\/\/www.critical-stages.org\/24\/embodying-the-extra-corporeal-releasing-the-voice-from-bodily-limitations-using-mediated-voice-in-singing-training\/","url_meta":{"origin":112,"position":5},"title":"Embodying the Extra-Corporeal: Releasing the Voice from Bodily Limitations Using Mediated Voice in Singing Training","author":"Rosie Garton and Ildik\u00f3 Rippel","date":"December 16, 2021","format":false,"excerpt":"Shannon Holmes* Abstract Despite the advances in contemporary performer training, which resist a paradigm rooted in Cartesian dualism, an impediment that is evident in the way in which classical singing technique is widely taught remains in the thinking of voice as extra-corporeal. This project centres on uncovering the liminal spaces\u2026","rel":"","context":"In &quot;Special Topic&quot;","block_context":{"text":"Special Topic","link":"https:\/\/www.critical-stages.org\/24\/category\/special-topic\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/featured-2.jpg?fit=800%2C533&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/featured-2.jpg?fit=800%2C533&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/featured-2.jpg?fit=800%2C533&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/24\/wp-content\/uploads\/sites\/25\/2021\/12\/featured-2.jpg?fit=800%2C533&ssl=1&resize=700%2C400 2x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/24\/wp-json\/wp\/v2\/posts\/112","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/24\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.critical-stages.org\/24\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/24\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/24\/wp-json\/wp\/v2\/comments?post=112"}],"version-history":[{"count":8,"href":"https:\/\/www.critical-stages.org\/24\/wp-json\/wp\/v2\/posts\/112\/revisions"}],"predecessor-version":[{"id":883,"href":"https:\/\/www.critical-stages.org\/24\/wp-json\/wp\/v2\/posts\/112\/revisions\/883"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/24\/wp-json\/wp\/v2\/media\/117"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/24\/wp-json\/wp\/v2\/media?parent=112"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.critical-stages.org\/24\/wp-json\/wp\/v2\/categories?post=112"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.critical-stages.org\/24\/wp-json\/wp\/v2\/tags?post=112"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}