This book examines performance in the context of the 2003 Iraq War and subsequent conflicts with Daesh, or the so-called Islamic State. Working within a theater and performance studies lens, it analyzes adaptations of Greek tragedy, documentary theater, political performances by the Bush administration, protest performances, satiric news television programs, and post-apocalyptic narratives in popular culture. By considering performance across genre and media, War as Performance offers an interdisciplinary approach to the study of culture, warfare, and militarization, and argues that spectacular and banal aesthetics of contemporary war positions performance as a practice struggling to distance itself from appropriation by the military for violent ends. Contemporary warfare has infiltrated our narratives to such an extent that it holds performance hostage. As lines between the military and performance weaken, this book analyzes how performance responds to and potentially shapes war and conflict in the new century.

Using a performance studies lens, this book is a study of performance in the post-9/11 context of the so-called war on terror. It analyzes conventional theatre, political protest, performance art and other sites of performance to unpack the ways in which meaning has been made in the contemporary global sociopolitical environment.

'Performance in Place of War' is concerned with theatre in refugee camps, in war-affected villages, in towns under curfew, in cities under occupation. It presents theatre and performance that occurs literally at the moment bombs are falling, as well as during times of ceasefire and in the aftermaths of war.

The concept of soldier enhancement often invokes images of dystopian futures populated with dehumanized military personnel. These futures serve as warnings in science fiction works, and yet the enhancement of soldiers' combat capability is almost as old as war itself. Today, soldier enhancement is the purpose of military training and the application of innovative technologies, but when does it begin to challenge individuals' very humanity? Bringing together the work of a diverse group of practitioners and academics, Transhumanizing War examines performance enhancement in the military from a wide range of perspectives. The book builds on two key premises: that rapid advances in science and technology are outstripping governments' and military organizations' capacity to adapt, and that this has put pressure on the connection between the military and the public. The contributors to this collection grapple with the implications of continued technological advancement and the possibility that innovative solutions to performance enhancement will risk further alienating the soldier from society. Navigating the fine line between technological promise and ethics, this volume presents a guide to responsible implementation in Canada and abroad. Offering unique insights into a debate on the bleeding edge of public discourse, Transhumanizing War considers the best ways to improve combat effectiveness while still preserving soldiers' humanity.

Two key performances by Paul Robeson shed light on the Cold War era

The long cultural moment that arose in the wake of 9/11 and the conflict in the Middle East has fostered a global wave of surveillance and counterinsurgency. Performance in a Militarized Culture explores the ways in which we experience this new status quo. Addressing the most commonplace of everyday interactions, from mobile phone calls to traffic cameras, this edited collection considers: How militarization appropriates and deploys performance techniques How performing arts practices can confront militarization The long and complex history of militarization How the war on terror has transformed into a values system that prioritizes the military The ways in which performance can be used to secure and maintain power across social strata Performance in a Militarized Culture draws on performances from North, Central, and South America; Europe; the Middle East; and Asia to chronicle a range of experience: from those who live under a daily threat of terrorism, to others who live with a distant, imagined fear of such danger.